tag:blogger.com,1999:blog-32496790030597301822024-03-13T20:21:22.369-07:00euro feverOne man's obsession with Euro-cinema and its participantsJohan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.comBlogger89125truetag:blogger.com,1999:blog-3249679003059730182.post-73818805117839412862015-07-07T14:05:00.000-07:002020-04-20T11:43:29.886-07:00La morte scende leggera<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1972
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Directed by Leopoldo Savona
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Stelio Candelli, Patrizia Viotti, Veronika Korosec, Tom Felleghy, Fernando Cerulli, Antonio Anelli, Marcello Di Martire, Rossella Bergamonti, Franco Marletta, Lella Cattaneo</b>
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Leopoldo Savona was a bit of an oddball director whose career was made up mostly of low-budget spaghetti westerns, but he also made two attempts to tackle horror and thriller material – first with the stylish and underrated gothic horror film <i>Byleth</i> (1972) and then with the little-known giallo <i>La morte scende leggera</i> (translation: <i>Death Descends Lightly</i>).
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The plot deals with shady drug trafficker Giorgio Darica (Stelio Candelli), who returns home from one of his “business trips” and finds his estranged wife Irina with her throat slashed. Fearing he’ll be the police’s number one suspect, Giorgio seeks help from Magrini (Fernando Cerulli), a corrupt magistrate he has dirty dealings with. Magrini and Giorgio’s shady lawyer Savara (Tom Felleghy) arrange for Giorgio to hide out in a temporarily abandoned hotel until they can set him up somewhere more permanently. Giorgio goes along with the plan but insists on bringing his mistress Liz (Patrizia Viotti) along to the hotel – against Savara’s wishes.
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<i>Giorgio</i>
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<i>Giorgio seeks help from his big shot friends</i>
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At first, Giorgio and Liz seem to settle in well and enjoy spending their time relaxing, watching old porn loops on a projector, and having lots of sex, but it doesn’t take long before the confinements of the hotel causes boredom and paranoia to kick in. Liz starts questioning whether Giorgio has actually murdered his wife or not, and the two are soon at each other’s throats and arguing violently.
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<i>Sex and games at first...</i>
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<i>...then boredom sets in...</i>
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<i>...and finally hysteria</i>
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Things take a turn for the worse when it turns out that Giorgio and Liz are not alone at the hotel. In the middle of the night, Giorgio is awoken by strange sounds and heads downstairs, where he finds a middle-aged woman murdered – her throat slashed just like Giorgio’s wife. Suddenly, the hotel owner (Antonio Anelli) appears and matter-of-factly explains that the woman is his wife, whom he has just murdered because her jealousy was making his life unbearable. The strange hotel owner tells Giorgio that the two of them are in the same boat now and asks him to help dispose of the body – to which Giorgio reluctantly agrees, but the hotel owner’s bizarre behavior soon has him questioning his own sanity and whether or not what is happening is actually real.
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<i>Murder!</i>
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<i>Giorgio becomes an unwilling accomplice</i>
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Complicating matters further is the sudden arrival of the mysterious Adele (Veronika Korosec), who claims to be the hotel owner’s daughter, and who begins playing mind games with Giorgio and trying to seduce him. The increasingly distressed Giorgio is unable to tell whether Adele is real, or a figment of his imagination, or perhaps even a ghost. Has he gone mad? And is he the killer of his wife or not?
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<i>The mysterious Adele</i>
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<i>Giorgio and Liz start to get freaked by all the strange going-ons</i>
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<i>La morte scende leggera</i> is another one of those little-seen gialli that has lapsed into obscurity and is currently circulating only through rips of an old Italian VHS with English fan subs slapped on top of it. Production of the film was originally announced in Variety back in June 1971 under the slightly longer title <i>La morte scende leggera come un ragno</i> (<i>Death Descends Lightly Like a Spider</i>), with spaghetti western star Robert Wood set to star alongside Patrizia Viotti. By the time it went into production, however, Wood had been replaced with Stelio Candelli. The film was eventually completed and approved by the Italian censorship board in August 1972 but for reasons unknown it did not hit Italian movie screens until two years later – making little impact at the box office and apparently never receiving an English dub. Interestingly, the blurb in Variety cites Aldo Marcovecchio – who had previously written <i>The Night of the Damned</i> (1971), which also starred Viotti, as well as Savona’s previous horror film <i>Byleth</i> (1972) – as the writer whereas the film’s opening titles credit the story to Luigi Russo and the screenplay to Russo and Leopoldo Savona, with no mention of any sort for Marcovecchio. It is still very much possible, however, that Marcovecchio had a hand in the script because the bizarre screenwriting traditions in Italy at the time meant that writers who contributed substantially to a film’s screenplay might end up receiving no credit at all while someone who had comparatively little to do with the finished script might end up receiving full credit for it.
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As for the film itself, <i>La morte scende leggera</i> is another case of a rare giallo that has faded into obscurity for a reason. It starts out promisingly enough, with the seemingly abandoned hotel serving as a suitably sinister and claustrophobic setting for the action. But it doesn’t take long before the confinements of the hotel start to bore and frustrate the two main characters, and unfortunately, their boredom quickly rubs off on the viewers as Savona’s direction is languid and lacking in momentum. The ghostly twist is a welcome change of pace from the usual giallo routine, but Savona seems unsure about how to handle it, and the big climatic reveal is clumsily telegraphed early on. Still, the film isn’t necessarily all that bad – the real problem is rather that everything is so hopelessly indistinct. The cinematography by Luciano Trasatti is pretty slick, but for a giallo it is rather on the ordinary side. There’s none of the visual panache we’ve come to expect from these films, and likewise, there are no flashy or stylish murder set-pieces, or even the requisite kitschy fashion tastes – presumably a result of the visibly meager budget. Again, nothing is outright bad, but the execution is consistently half-assed.
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<i>There’s an unfortunate lack of extravagantly silly fashion and décor choices but, thankfully, Liz’s ghastly decorated bedroom is an exception</i>
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Thankfully, there are some notable exceptions to the mediocrity which are able to redeem the film somewhat – most notably the soundtrack by Lallo Gori and particularly the cool, guitar-driven song “Sunday in Neon Lights” – performed by Ghanaian prog rock singer Mack Sigis Porter – which plays over the opening titles and which is repeated at various times throughout the film. This song was not written for the film (it is instead taken from Porter’s 1972 album “Peace On You”), nor did composer Gori have nothing to with it, but according to Quarter Records’ <b><i><a href="http://www.quartetrecords.com/la-morte-scende-leggera.html">CD release of the film’s soundtrack</a></i></b>, Gori nevertheless “designed his orchestration to match the song and creates a memorable, haunting tapestry of madness, mod and psychadelia”. Gori’s compositions do indeed match the song very nicely and together they help set a nice atmosphere and mood for the film. You can listen to the song yourself here:
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Another priceless highlight is the scene where Giorgio and Liz are in bed watching a sex loop on an 8mm projector that Giorgio has very conveniently brought with him. You can’t go on the run without one of those! Anyway, what’s interesting is that the footage being shown on the projector is actually a recycled sex scene from Savona’s previous horror film <i>Byleth</i> (1972) featuring the beautiful Marzia Damon. This scene even gets a little meta on us when Liz asks if the loop is Italian and Giorgio informs her that Italy is producing more of this stuff than Sweden and Denmark.
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<i>Nothing sets the mood like some good 8mm porn</i>
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It is also interesting to note how the film foreshadows Umberto Lenzi’s <i>Spasmo</i> (1974) in the way it questions the sanity of its protagonist, although ultimately the film’s troubled release story resulted in the Lenzi film being the first to hit movie screens. The hotel setting and ghostly apparitions means that the film also manages to foreshadow Stanley Kubrick’s iconic <i>The Shining</i> (1980), though only on paper as the two films couldn’t possibly be more different in execution. If anything, the atmosphere of <i>La morte scende leggera</i>, with its zero budget look and confined setting, most of all resembles a Jess Franco film.
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Casting for the film is somewhat odd – headlined by spaghetti western bad guy Stelio Candelli in one of his relatively rare starring roles. Candelli’s hard face and intense gaze made him an unusual choice for leading roles and as such he is a nice fit to play a shady crook like Giorgio. He’s not a particularly sympathetic protagonist, but the film deliberately plays on this by keeping the viewers in the dark about whether or not Giorgo has murdered his wife. The opening scene simply shows him exiting his apartment building looking all wild-eyed, sweaty and nervous, but it is unclear whether his agitated state is due to having just committed a murder or simply because he has just found his wife dead and is nervous about becoming a suspect. It’s a nice approach, but it never quite succeeds – largely because Giorgio is not only a rather unsympathetic character, but also a boring one. Candelli is a good actor and does a decent job, but there’s only so much you can do with such a thinly drawn and underdeveloped character.
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<i>Guilty? Or just nervous?</i>
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Filling the part of the female lead is the dour-eyed Patrizia Viotti, who gives off a rather unlikable vibe throughout the film, although it’s difficult to tell whether this is intentional or not. She is as quick to disrobe here as she was in Filippo Walter Ratti’s sexy-gothic horror film <b><i><a href="http://euro-fever.blogspot.com/2015/04/the-night-of-damnedla-notte-dei-dannati.html">The Night of the Damned</a></i></b> (1971) but her acting rarely rises above passable except for a well-done freak-out scene where she gets into a violent confrontation with Candelli.
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<i>Patrizia Viotti</i>
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The most familiar name in the supporting cast is surely that of Hungarian-born character actor Tom Felleghy, one of the most frequently employed actors at Cinecittà, with appearances in more than 200 Italian productions (be it western, giallo, horror, peplum, crime, comedy, Eurospy etc) but usually in small roles limited to a scene or two. The role of Giorgio’s shady lawyer allows Felleghy to take on a more substantial part than usual for him, and it is nice to see him get a fair bit of screentime even if the role itself is hardly all that exciting.
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<i>Tom Felleghy</i>
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<i>La morte scende leggera</i> might be worth a watch, I guess, as it has a couple of interesting moments and a terrific soundtrack, but this is definitely a lower-tier giallo, so approach it with low expectations.
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Stelio Candelli as Giorgio Darica</i>
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<i>Patrizia Viotti as Liz</i>
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<i>Veronika Korosec as Adele</i>
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<i>Tom Felleghy as Attorney Savara</i>
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<i>Fernando Cerulli as Magistrate Magrini</i>
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<i>Antonio Anelli as Hotel owner</i>
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<i>Marcello Di Martire as Commissioner De Carmine</i>
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<i>Rossella Bergamonti as Marisa</i>
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<i>Franco Marletta as Malvestiti, the film director</i>
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<i>Lella Cattaneo as Hotel owner’s wife</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com2tag:blogger.com,1999:blog-3249679003059730182.post-64265268269465120202015-04-28T16:47:00.001-07:002020-04-21T11:19:38.926-07:00Microscopic Liquid Subway to Oblivion<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1970
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Directed by John Shadow
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Cast:
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Alex Rebar, Ewa Aulin, Carlo De Mejo, Eugene Pomeroy</b>
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Wow! Where do you begin with something like this? The title alone should give you some idea of what to expect here, and indeed, <i>Microscopic Liquid Subway to Oblivion</i> is a bafflingly strange, nonsensically titled film that defies all categorization. Practically unreleased anywhere in the world, it is surely one of the rarest and most overlooked Italian productions of the early 1970s – made all the more fascinating due to its muddled release history and the fact that it somehow stars famed Swedish bombshell Ewa Aulin. It crops up every so often in discussions about particularly rare Italian films, but not many appear to have actually seen it.
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So what’s it all about? Well, the plot deals with the stiff-lipped and self-important college professor John Fink (Alex Rebar), who is mortified after one of his students dies while under the influence of drugs. Professor John blames the widespread use of drugs among his students on rebellious heroin-addict Billy Fisher (Carlo De Mejo), but doesn’t want to expel Billy or report him to the police in fear of tarnishing the school’s reputation. Instead, the professor recruits the help of his nerdy star pupil Henry (Eugene Pomeroy) to trick Billy into joining them for a weekend getaway at Professor John’s isolated villa in the Italian countryside.
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Of course, it’s all just a pretense to lure Billy away so the professor can use him in an experiment to cure him of his drug addiction. As soon as they’ve arrived at the villa, John disconnects the phone and sabotages the car to prevent Billy from leaving, bugs his room and begins messing with the boy’s head.
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<i>Professor John</i>
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<i>Billy the druggie</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmbEOTjb_yw8zyprB7KvvC5jL9q37afh3OZL1vNwDjknONJ17wfIYl2InJoittOLXBvQLr9igRXCZKl2CpX8XiaXiqDuKK7U4hNAj7xoveS8euDXq9KeRrep2t_w3dSWlHWQSq5tnX64/s1600/Microscopic+-+Mind+Games.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmbEOTjb_yw8zyprB7KvvC5jL9q37afh3OZL1vNwDjknONJ17wfIYl2InJoittOLXBvQLr9igRXCZKl2CpX8XiaXiqDuKK7U4hNAj7xoveS8euDXq9KeRrep2t_w3dSWlHWQSq5tnX64/s400/Microscopic+-+Mind+Games.jpg"></a></div>
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<i>The professor starts playing mind games on Billy</i>
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Joining them is the professor’s subservient and much younger wife, Elizabeth (Ewa Aulin), who is upset by the way her husband is treating Billy, and who would rather have the two of them spend some time alone at the villa. John criticizes her for her priorities and staunchly defends his experiment, which he is determined to carry out under his motto of “no emotions”. Unfortunately, things quickly get out of hand due to the professor’s inability to confiscate Billy’s stash of drugs, and worse yet, Elizabeth – having grown tired of being neglected by her manipulative husband – takes a liking to Billy and gets hooked on his drugs…
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<i>Elizabeth and Billy hit it off...</i>
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<i>...leading to more drug abuse...</i>
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<i>...and freak-outs</i>
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This genuinely strange zero budget oddity currently only circulates via grey market dupes of a rare Greek VHS release from the 1980s, and has long been subject to a lot of debate over who actually directed it and whether or not it ever received any sort of theatrical run. According to the onscreen credits, <i>Microscopic Liquid Subway to Oblivion</i> was written, produced and directed by John W. Shadow, who is also credited with writing all of the songs for the soundtrack. According to the notoriously unreliable IMDb, John W. Shadow was a pseudonym used by small-time Italian producer Roberto Loyola, who never directed anything else. The name John Shadow also crops up as the writer-director for the decamerotic film <i>Tales of Canterbury</i> (1973) and as a screenwriter on J.P. Simon’s notorious Spanish slasher epic <i>Pieces</i> (1982), and in these two instances the IMDb claims the man hiding behind the John Shadow name is Joe D’Amato. A little bit of research quickly reveals, however, that John Shadow is actually a real person. He is/was a British songwriter who was married to Ewa Aulin from 1968 to 1972 – a marriage that produced a son, Shawn, born in 1969. Shadow wanted to branch out into movies but never received much, if any, attention for his brief filmic output, and what little press he did get was almost without exception connected to his marriage to Aulin, who was a big star and favored object of the Italian yellow press in those days.
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<i>John Shadow and Ewa Aulin pictured together in the La Stampa newspaper in 1969</i>
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One of the very rare instances in which Shadow did get some press on his own was when Variety ran a few pieces about the production of <i>Microscopic Liquid Subway to Oblivio</i>n in early 1970. These pieces, while brief, reveal several fascinating details about the production history of the film, as well as some welcome information about Shadow’s background, and I am thus choosing to reproduce them here in their entirety.
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The first Variety piece is from 18 March 1970:
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<i>Sound Productions is a new film company in Rome, inaugurating activity with a semi-experimental low-budgeter "Microscopic Liquid Subway to Oblivion", which John Shadows will produce and direct from his own screenplay. “Liquid Subway” is a warmup exercise for Shadows who has set up a base here with Swedish actress (and wife) Ewa Aulin. The young producer is a nephew of the late Ella Shields, a Jolson era entertainer known on both sides of the Atlantic. His background also includes founding membership in Radio Caroline, the station that operated in extra-territorial waters off the British coast, with a peak audience of 18,000,000 listeners when Shadows left to enter cinema. Innovation in “Liquid Subway,” Shadows said, would cut to the bone the standard screen reactions and gestures, and prod participation by filmgoers to insert them mentally as the pic unspools. Sound properties are “Only One Way To Go,” an original by Shadows and film publicist Hunt Powers, and “Question Of Innocence,” a Shadows screenplay. As his program develops, he intends to raise financing from a public stock issue, but not until cast and directors are committed. The young filmmaker-promoter is a strong believer in the stock counter as a new source of industry financing, providing the producer can line up a major broker, bank endorsement and a top law firm as a guarantee of legitimate enterprise. “Once this is done,” Shadows said confidently, “the angels will come forward.” </i>
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The film is then briefly mentioned again in a Variety issue from 22 April 1970:
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<i>John Shadows completed shooting on “Microscopic Liquid Subway to Oblivion” on a three-week schedule and a $70,000 budget. Party, headed by Ewa Aulin, Alex Rabar, Alida Valli's son Carlo Demejo and Eugene Pomeroy together with lenser Gabor Pogany and all others on the unit, accepted salary minimums for profit participation. Shadows also produced for his Sound Pictures and directed from his own script.</i>
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A third and final mention of the film occurs in a Variety issue dated 20 May 1970:
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<i>“The Microscopic Liquid Subway to Oblivion” is described by its director John Shadow as Italy's answer to the New York. Shot in 17 days and starring his wife Ewa Aulin, songwriter Shadow brought off his filming debut with no financial problems. Backers came out of the walls after comments by Dr. Christiaan Barnard encouraging the undertaking. Shadow formed his own company, Sound Productions Ltd., in the Bahamas a year ago to insure independence, and began working on the film based on a story about a London friend hooked on drugs. Cast also includes Alex Rabar, Eugene Pomeroy and Carlo de Meo, Alida Valli's son. After his first “underground” effort which included writing the script, directing and producing the film and composing the sound track, Shadow says he has other films in preparation.</i>
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Unfortunately, Variety didn’t run any more pieces on the film after this point, and this is where things start to get complicated. Shadow shot <i>Microscopic Liquid Subway to Oblivion</i> in Italy, where he and Aulin were based, and the film appears to have been an Italian production, yet it is not listed in the official registrar of Italian films and there is no evidence of any sort of theatrical release in Italy. Somewhat confusingly, American-born actor Eugene Pomeroy, who played the nerdy Henry in the film, mentions in an <b><i><a href="https://www.acc.umu.se/~samhain/summerofhate/microscopic.html">interview</a></i></b> that his family came all the way from the States to attend the premiere in Italy, at which John Shadow and Ewa Aulin were also present. However, this was most likely some sort of private screening for cast, crew and their families rather than a real cinema premiere. Again, the film does not appear to have received any kind of official theatrical release, and no posters or promotional art for the film has surfaced anywhere. Clearly, the production must have run into difficulties – with Shadow perhaps being unable to find a distributor. While one cannot completely rule out the possibility of brief theatrical runs in other European countries, this seems unlikely. In fact, the only known release of the film anywhere in the world is the Greek video release from the 1980s, although how on earth the film ended up on a Greek VHS after being unseen and undistributed for so many years is a mystery that is still waiting to be solved.
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<i>The rare Greek VHS release of the film. Note how the highly misleading cover art is stolen from Jess Franco’s </i>Bloody Moon<i> (1981). No original artwork for the film appears to exist</i>
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As for the film itself, I’m afraid the complicated release history and confusion over who directed it is far more intriguing than the actual product, which is neither particularly well-made nor enjoyable. For what is ostensibly a drug movie, <i>Microscopic Liquid Subway to Oblivion</i> is curiously lacking in terms of psychedelic imagery – with the only exception being the stylish opening credits, which feature a syringe injecting drugs into a colored bubble, weird sounds, and fish-eye lens shots of a spaced out Ewa Aulin dancing in slow motion. It’s a terrific opening sequence and that only makes it all the more disappointing that the film doesn’t have more scenes like this.
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<i>A few images from the stylish opening credits</i>
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But while the film may be lacking in psychedelic imagery, it offers no shortage of shock zooms, slow motion, subliminal inserts, bizarre camera angles, jumpy edits, extreme close-ups of faces, echoing sounds, and confusing cutaways. All this results in quite a trippy and weird atmosphere but, unfortunately, it does not translate into a particularly pleasurable viewing experience. The plot makes about as much sense as the nonsensical title, the pacing is languid and the whole thing is frequently boring in spite of the sky high bizarro factor.
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Several reviews have commented that the film has a raw, unfinished feel to it, yet the various Variety pieces all indicate that it was indeed completed, so any such feeling is surely down to the inept staging and direction. Among the most confusing aspects are the brief but frequent cutaways to entirely unrelated scenes of Billy’s hippie friends camping out in the woods. It really makes no sense whatsoever. Equally incomprehensible is the decision to film the first 12 minutes (minus the opening credit) in sepia tones. If the transition from sepia to color had occurred at the moment when someone shooting up, it might have made <i>some</i> sense, but instead it happens completely at random – much like everything else in the film. It is of course possible that Shadow simply didn’t have enough money to shoot everything in color. We’ll probably never know.
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<i>Some of the head-scratching cutaway footage to Billy’s hippie friends</i>
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<i>Sepia toned scenes</i>
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In all fairness, the film is not entirely bereft of talent. Gabor Pogany’s cinematography (which is partially cropped on the Greek VHS version) is fairly stylish, and employs some very unusual and inventive angles that are put to particularly good use in a loopy sequence where Professor John is messing with Billy’s head during a game of billiard, or when Billy has tied himself to his bed to fight off his withdrawal symptoms. Furthermore, the songs on the soundtrack (written by Shadow and performed by American-born but Italian-based R&B, blues and disco singer Ronnie Jones) are actually very good and nicely fit the film’s thematic and mood, and there’s even some nice instrumental music by Bill Conti and Marcello Gigante thrown in – featuring the ubiquitous wordless female vocals that seem to have been considered obligatory back then.
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<i>The zany billiard sequence is a trippy montage of weird camera angles, shaky camera shots, zooms and snappy edits that nicely illustrate Billy’s state of mind during his withdrawal period</i>
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<i>Some pretty effective camerawork during the scenes where poor Billy is tied to the bed</i>
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The small but interesting cast is headed by American actor Alex Rebar as the strange Svengali-like professor. Rebar was apparently a personal friend of John Shadow and later acted for him again in <i>Tales of Canterbury</i>, but is best remembered for playing the title role in the American cult classic <i>The Incredible Melting Man</i> (1977) as well as serving as executive producer and occasional writer on such amateurish and cheap slashers as <i>Terror on Tour</i> (1980), <i>To All a Good Night</i> (1980), <i>Demented</i> (1980) and <i>Home Sweet Home</i> (1981). He gives a terrible performance here – coming across as both awkward and hammy. Faring infinitely better is Euro-horror favorite Carlo De Mejo in one of his early film roles. Seeing him without the trademark beard he sports in the likes of <i>City of the Living Dead</i> (1980), <i>The Other Hell</i> (1981) and <i>Blade Violent</i> (1983) is a little baffling at first, but De Mejo is quite good here and really invests himself in the role the rebellious druggie even if the script doesn’t give him a whole lot to work with.
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By far the biggest name in the cast is Ewa Aulin, who had become something of an international celebrity after starring alongside the likes of Marlon Brando, Richard Burton, James Coburn and Ringo Starr in the sex farce <i>Candy</i> (1968), which earned her a Golden Globe nomination for most promising newcomer. Aulin seemed destined to become the next big thing in Hollywood, but things took a disastrous turn after she was cast alongside Lee Van Cleef and Jim Brown in the US western <i>El Condor</i> (1970). She began working on the film in late 1969, but clashed with director John Guillermin and producer André De Toth over some sex scenes that Aulin refused to appear in – causing her to promptly walk away from the film and be replaced by Marianna Hill. An article about the incident in Time Magazine gives the impression that the then 19-year old Aulin’s decision to not appear nude (even though she had no such qualms when she starred in <i>Candy</i>) may at least partly have been spurred on by Shadow, who was sometimes described in the Italian press as being very jealous and possessive of his 12 years younger wife.
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For Shadow it was obviously convenient that his wife dropped out of <i>El Condor</i> since it meant she was available to star in <i>Microscopic Liquid Subway to Oblivion</i>, but for Aulin it was a catastrophic, career-killing move that put a definite end to any hopes she may have had of conquering Hollywood. She had to have been at least somewhat aware of that while she was making the film, and this may account for her slightly disengaged performance. She looks lovely as always but the only scene in which she seems to come to life is when she dances around the villa in a drugged state pretending to be some Greek goddess.
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<i>Ewa on a trip</i>
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In his aforementioned interview, co-star Eugene Pomeroy recalls an incident that occurred while he was working on dubbing the film into English together with Ewa Aulin and John Shadow: “I do remember John screaming at her during the dubbing sessions. I found dubbing to be quite easy and fun. There was one scene where Eva had to scream or cry and John kept making her do it again. I realized after the tenth, or was it the twenty-fifth take, that all he wanted her to do was to scream, but he kept screaming things like ''I want you to put more emotion in it!'' and reduced her to tears”. It is perhaps not such a wonder then that the two went their separate ways in 1972 after just four years of marriage. Intriguingly, the relationship between Aulin’s character, Elizabeth, and her husband can be read as a reflection of Aulin and Shadow’s real life relationship – with Elizabeth portrayed as young, naïve and subservient to her older selfish husband (that is until the use of drugs set ‘free’ and enable her to stand up to her husband). I would assume that these similarities are unintentional but it nevertheless adds a little extra layer of interest.
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Summing it up, <i>Microscopic Liquid Subway to Oblivion</i> is far more interesting than it is enjoyable. It isn’t very good but it is <i>really</i> weird, very rare and endlessly fascinating, and as such it is worth seeing if for nothing else than to make up your own mind about it.
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Alex Rebar as Professor John Fink</i>
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<i>Ewa Aulin as Elizabeth Fink</i>
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<i>Carlo De Mejo as Billy Fisher</i>
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<i>Eugene Pomeroy as Henry Keating</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com3tag:blogger.com,1999:blog-3249679003059730182.post-57592723380907926412015-04-19T14:58:00.000-07:002015-07-07T14:43:39.852-07:00The Night of the Damned/La notte dei dannati<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1971
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Directed by Filippo Walter Ratti
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Pierre Brice, Patrizia Viotti, Angela De Leo, Mario Carra, Antonio Pavan, Alessandro Tedeschi, Daniela D’Agostino</b>
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My craving for obscure European horror films apparently never seizes and now it’s time to look closer at <i>The Night of the Damned</i> directed by Filippo Walter Ratti (under the anglicized pseudonym Peter Rush), a comedy director whose career started in the 1940s but who today is remembered largely because of his brief brushes with horror and giallo territory in the twilight years of his career.
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The plot is set somewhere in France and deals with sharp-witted journalist Jean Duprey (Pierre Brice), who has become famous after helping the police solve a high profile murder. His charming wife Danielle (Patrizia Viotti) seems impressed by all the attention bestowed upon her hubby but Jean himself couldn’t care less. His interest is raised, however, when he receives a cryptic letter from the prince Guillaume de Saint Lambert (Mario Carra), a once dear friend that Jean lost contact with years ago. Jean soon discovers that the letter contains a code leading to a couple of macabre passages from Charles Baudelaire’s poetry collection <i>The Flowers of Evil</i>. Danielle is confused since the Baudelaire passages don’t clarify anything but Jean explains that Guillaume has always been a bizarre character with a fondness for puzzles. He interprets the macabre passages as meaning that Guillaume’s life is in danger, and quickly drags Danielle along to go check up on his old friend.
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<i>Jean and Danielle try to decipher the cryptic letter</i>
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It turns out that Guillaume lives in an old, crumbling and supposedly haunted castle with no electricity installed. Danielle and Jean are greeted by Guillaume’s attractive wife Rita (Angela De Leo), who Jean has never met or heard about before, and she tells them Guillaume is gravely ill from a strange disease. Jean immediately runs to Guillaume and finds him in a morose and agitated mood. He claims his sickness is the result of a three centuries old family curse that afflicts all men of the Saint Lambert family when they turn 35 – striking them with a sickness that consumes them until their brains explode with madness. Guillaume then begins to speak in riddles about a horrifying truth but goes into a hysterical fit before he can reveal anything else.
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<i>Jean is reunited with the sickly Guillaume</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcTXlXaB5rNafYMFN_jzqFpRaO-X9lTa_KKURZTJ863AXy5Q6Hdhpw7t9tqiHKv-3ebvK4NRJlRjSH26kQyo9bPJdj6bEN0OhHqRiEwz7eKq290tbZTkEXNVeTozbv-iGk12g0XYubRQ/s1600/Night+Damned+-+Rita.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcTXlXaB5rNafYMFN_jzqFpRaO-X9lTa_KKURZTJ863AXy5Q6Hdhpw7t9tqiHKv-3ebvK4NRJlRjSH26kQyo9bPJdj6bEN0OhHqRiEwz7eKq290tbZTkEXNVeTozbv-iGk12g0XYubRQ/s400/Night+Damned+-+Rita.jpg" /></a></div>
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<i>Guillaume’s mysterious wife, Rita</i>
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Later at dinner, Rita tells Jean and Danielle that Guillaume’s illness is completely imaginary. Danielle is rather upset by the whole thing and when she’s about to go to bed she is greatly disturbed by an old drawing depicting a witch burning. In her sleep, Danielle sees the flames in the drawing come to life and she has a terrible nightmare about being burned alive as a witch.
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<i>An old drawing upsets Danielle...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFE_6sKcAOZkfb89eR2mP7VEs0C7F-f1wOMhDG93O3791UcEOrpbMOYyIh-8GDQXlC2AYikTWz9CB8DOYFYDijR6A1LK-z0F8MAj34p3-as5oAquReC0I2ulztciRrQOJeP0q5Tov-BM/s1600/Night+Damned+-+Witch+Burning02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFE_6sKcAOZkfb89eR2mP7VEs0C7F-f1wOMhDG93O3791UcEOrpbMOYyIh-8GDQXlC2AYikTWz9CB8DOYFYDijR6A1LK-z0F8MAj34p3-as5oAquReC0I2ulztciRrQOJeP0q5Tov-BM/s400/Night+Damned+-+Witch+Burning02.jpg" /></a></div>
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<i>...and leads to disturbing nightmares</i>
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Jean tries to talk to Guillaume again but he just keeps on speaking in riddles about a “horrible truth” that is hidden in the library. He finally agrees to tell Jean everything tomorrow but postponing the revelation of whatever forbidden knowledge one possesses until the next day is never a good idea in movies, so it comes as no surprise that poor Guillaume is found dead in his bed the next morning. Rita quickly throws together a rather ghoulish funeral ceremony in an eerie candle-lit crypt complete with white-hooded pallbearers.
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<i>Poor Guillaume’s macabre funeral</i>
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That same night a nubile young blonde is abducted and taken to a misty underground lair where Rita, who it turns out is a witch, sits on a dragon-headed throne and presides over a satanic ritual that involves her naked female servants engaging in a lesbian orgy with the kidnapped girl. At the end, Rita herself gets up and attacks the girl with her deadly claws. The next day, the poor girl’s naked, mutilated body is discovered not far from the Saint Lambert castle – her body having been drained completely of blood.
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<i>A hapless young woman is abducted...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpehGwp1ZN8BSXjkWs-qm5RAzGSQcf6s1pN51DyvSW9v2IUIYrAw3z1OYnRgsc7nLfAIk2JM30Z-eAqNx7tImimX2vdDsWMcXrfRCTqy01GNXTk1qnbaWWQNMAMU1W7BEP8whMesNFYPQ/s1600/Night+Damned+-+Abducted02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpehGwp1ZN8BSXjkWs-qm5RAzGSQcf6s1pN51DyvSW9v2IUIYrAw3z1OYnRgsc7nLfAIk2JM30Z-eAqNx7tImimX2vdDsWMcXrfRCTqy01GNXTk1qnbaWWQNMAMU1W7BEP8whMesNFYPQ/s400/Night+Damned+-+Abducted02.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxkbBNrA9vRqHf0mW421DJtIwEKuWtcbzHLd2FQTu1UBKCtle1GnVjC6JNLCAa0YnZfuTkVXp1Haw0Guhfv7pKHCqwzuEB08TQJ9zbd2fkMOx5IqVbPaimZkjC9eorN4shuVkuv87p28/s1600/Night+Damned+-+Abducted03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxkbBNrA9vRqHf0mW421DJtIwEKuWtcbzHLd2FQTu1UBKCtle1GnVjC6JNLCAa0YnZfuTkVXp1Haw0Guhfv7pKHCqwzuEB08TQJ9zbd2fkMOx5IqVbPaimZkjC9eorN4shuVkuv87p28/s400/Night+Damned+-+Abducted03.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGZpsrG_uzac7JJRQ3-3zJHHTORGpYUqIja_m6bRI-hMxvEGagmtMvnd4HnzUPz_VKsuWr7Ge9BFUYqzuMO_o63QPEMAlDdblEcfPr5xL0OBAArpOZKWfzP4Hqbqbo21p1n4owudS9Ew/s1600/Night+Damned+-+Abducted04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGZpsrG_uzac7JJRQ3-3zJHHTORGpYUqIja_m6bRI-hMxvEGagmtMvnd4HnzUPz_VKsuWr7Ge9BFUYqzuMO_o63QPEMAlDdblEcfPr5xL0OBAArpOZKWfzP4Hqbqbo21p1n4owudS9Ew/s400/Night+Damned+-+Abducted04.jpg" /></a></div>
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<i>...and meets her fate in Rita’s mist-enshrouded lair</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvs5DBb9WqHBpbA_18-t1pFpYAZoDziB4gTXcttJnmQR9JcblBlxTbVi_-uGkx0kHL9igb0SPVs6NjVQY87dOnu1a7TU2ythl6uvyU8_OrQ0SWuJ973ruW3TItMoBLHTvPPAnuL66qEjA/s1600/Night+Damned+-+Victim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvs5DBb9WqHBpbA_18-t1pFpYAZoDziB4gTXcttJnmQR9JcblBlxTbVi_-uGkx0kHL9igb0SPVs6NjVQY87dOnu1a7TU2ythl6uvyU8_OrQ0SWuJ973ruW3TItMoBLHTvPPAnuL66qEjA/s400/Night+Damned+-+Victim.jpg" /></a></div>
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<i>The poor woman’s lifeless remains</i>
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The case is assigned to the bewildered Inspector Gérard, who quickly recruits Jean to assist in the investigation. In a puzzling turn of events, the victim is revealed to be Guillaume’s cousin and Jean is convinced that the key to the mystery is the “horrible truth” that Guillaume said was hidden in the castle’s library. As he obsessively searches for clues, Jean fails to notice that his increasingly unstable wife starts falling victim to Rita’s satanic powers. She is quickly bewitched into a lesbian affair with Rita, who has macabre plans for both Jean and Danielle...
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ2mRFye0hzBmih2BI4OtekFnRqEa6p5zKU3Yd28xyAj9V8o4ui5U1vfUlRY4UVl_R80o1ENFY9lBahJXLY9iXHseovAXeI1Pb3b_LRYb-339YG65XpJc5M-Or4xkoK7BjJXtgr4bww3Y/s1600/Night+Damned+-+Library.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ2mRFye0hzBmih2BI4OtekFnRqEa6p5zKU3Yd28xyAj9V8o4ui5U1vfUlRY4UVl_R80o1ENFY9lBahJXLY9iXHseovAXeI1Pb3b_LRYb-339YG65XpJc5M-Or4xkoK7BjJXtgr4bww3Y/s400/Night+Damned+-+Library.jpg" /></a></div>
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<i>Jean searches for answers in the castle library...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwalpE1Xm87pzmrYDooTVtCccewYMihpfxDghfw6IjEnngfvLSqdh1cAcxFYapcMDQ-4aMAWAiyLoyVKV7ZpO_YzcealK6-9G-iWx1_dYhmTZ3-DM70u2mJJSLH2JuHBIP7GRnmU9v2MQ/s1600/Night+Damned+-+Lesbian+Seduction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwalpE1Xm87pzmrYDooTVtCccewYMihpfxDghfw6IjEnngfvLSqdh1cAcxFYapcMDQ-4aMAWAiyLoyVKV7ZpO_YzcealK6-9G-iWx1_dYhmTZ3-DM70u2mJJSLH2JuHBIP7GRnmU9v2MQ/s400/Night+Damned+-+Lesbian+Seduction.jpg" /></a></div>
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<i>...and is completely oblivious to the fact that his wife is bewitched into a deadly lesbian affair</i>
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<i>The Night of the Damned</i> was Filippo Walter Ratti’s first attempt at making a horror film, and the script by Aldo Marcovecchio is molded in the then rather passé tradition of the Italian gothic horror films of the early 1960s but with vamped up visuals of steamy nudity and lesbianism to make it more appealing to an early 70s grindhouse audience. It comes with all the necessary ingredients for an Italo horror fan favorite but instead it vanished into obscurity due to the decades-long unavailability of an English-friendly variant as well as a full uncut version. <i>The Night of the Damned</i> was originally released in Italy in a heavily watered-down version that cut out nearly all of the graphic lesbianism. This cut was also released on Italian VHS on the Shendene label (running 83 minutes) and it has been the most commonly seen version of the film – thus damning it to a similar fate as that of Ratti’s next film, the forgotten giallo <b><i><a href="http://euro-fever.blogspot.com/2011/03/crazy-desires-of-murdereri-vizi-morbosi.html">Crazy Desires of a Murderer</a></i></b> (1973), which also contained a series of explicit sex scenes that were hacked out by the Italian censors. But unlike the uncut version of <i>Crazy Desires of a Murderer</i>, which is probably lost forever, the naughty bits excised from <i>The Night of the Damned</i> still exist since a steamier version was prepared for export to countries with more relaxed censorship policies. There’s a French VHS release under the title <i>Les nuits sexuelles</i>, which contains a whooping 12 extra minutes of graphic lesbianism. However, this version is actually ten minutes <i>shorter</i> than the Shendene tape due to the elimination of a significant number of plot and dialogue scenes – making it somewhat of a bastardized ‘sexy version’ of the film. Thankfully, some kind soul has created a composite variant by adding the naughty bits from the French version to the censored Italian cut as well as adding English subtitles. A most welcome treat indeed, even if the steamier parts are in dire shape.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHwwUVDNkiK0ZaBZ7k6Onb-z3oJyz14F7n7AVEvtsM92L2yJV9oEL815Jy3ZsSkz9Fo4Abmywa9tIpNCAoTQWVcym1XzxSUPRQrmAcjVTipuL0Rg4w6sL0F5pylmvtYl_MkorkT1Y4u2w/s1600/Night+Damned+-+Naughty+Bits01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHwwUVDNkiK0ZaBZ7k6Onb-z3oJyz14F7n7AVEvtsM92L2yJV9oEL815Jy3ZsSkz9Fo4Abmywa9tIpNCAoTQWVcym1XzxSUPRQrmAcjVTipuL0Rg4w6sL0F5pylmvtYl_MkorkT1Y4u2w/s400/Night+Damned+-+Naughty+Bits01.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_pPVS3tGgGyiV6a1A81NrxMiA7iQYWipruWDe_R49ZCjBGL-prMEgjb6ZLrP35VDxGvoUoO9ebNxU73rc7xzQelK0Uive5K1_h2QUVVkv7aBN8qFpc4x-jEQYh7OXntSVl9zubE6bfE/s1600/Night+Damned+-+Naughty+Bits02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_pPVS3tGgGyiV6a1A81NrxMiA7iQYWipruWDe_R49ZCjBGL-prMEgjb6ZLrP35VDxGvoUoO9ebNxU73rc7xzQelK0Uive5K1_h2QUVVkv7aBN8qFpc4x-jEQYh7OXntSVl9zubE6bfE/s400/Night+Damned+-+Naughty+Bits02.jpg" /></a></div>
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<i>A few scenes from the stronger ‘sexy version’ in rather grotty quality</i>
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The film’s more graphic content also survives in the form of a photo-novel version published in the magazine Bigfilm, which devotes ample space to the many scenes of explicit lesbianism.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM75LtUCD5i1w_CuKX5VdKf_pxKG4fXqxqXTYsxQXZolUDEvbmwbho97IdnnGlTc7YaK39zOzLBsR_uhvzrFYD47VQnyG3hcgBfc47p7gvKar5RAl9FURGCPRSwqomhwf8Nq6sDLQ34nM/s1600/Night+Of+The+Damned+Cineromanzo+Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM75LtUCD5i1w_CuKX5VdKf_pxKG4fXqxqXTYsxQXZolUDEvbmwbho97IdnnGlTc7YaK39zOzLBsR_uhvzrFYD47VQnyG3hcgBfc47p7gvKar5RAl9FURGCPRSwqomhwf8Nq6sDLQ34nM/s400/Night+Of+The+Damned+Cineromanzo+Cover.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFoJ6DBxoh0QIes_QgXFi57tgNJfDDE15AwfDoI2UqCslLGSzgdvN7Z0QhgaK3wReDearx8ab90cbDO0KiCITxGdu-WCAYROzLdwPHeJ-B2FObjpF0D1VhDG56XpqgsLyfgpGj48y5ds/s1600/Night+Of+The+Damned+Cineromanzo01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFoJ6DBxoh0QIes_QgXFi57tgNJfDDE15AwfDoI2UqCslLGSzgdvN7Z0QhgaK3wReDearx8ab90cbDO0KiCITxGdu-WCAYROzLdwPHeJ-B2FObjpF0D1VhDG56XpqgsLyfgpGj48y5ds/s400/Night+Of+The+Damned+Cineromanzo01.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUO0VqD4VPFxQ2UKGA4nVx6WlYc_UouBsMYbQ-MAdGK4z45cmLzspoTz3DgYFoSl0yb9LjqUQpO0uzY9AFPhs-Iz6P7bhNEIrX1d5B0eLIXatj2X_QzpDXzaDgYg3CVwWxljodDsI8tg/s1600/Night+Of+The+Damned+Cineromanzo02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkUO0VqD4VPFxQ2UKGA4nVx6WlYc_UouBsMYbQ-MAdGK4z45cmLzspoTz3DgYFoSl0yb9LjqUQpO0uzY9AFPhs-Iz6P7bhNEIrX1d5B0eLIXatj2X_QzpDXzaDgYg3CVwWxljodDsI8tg/s400/Night+Of+The+Damned+Cineromanzo02.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAO7ulnQs6PS9WVsbNNwyYPj-Ef7RbM8OKS0-9H0J130RMKQwYFCWTaizkHzwKTg1xXhFbRMsty0P0Mr6jx6J9KjmhKhsFIln7mTX7Yq2D5RfmYH8VEerogo7Xi4X7_dMxahSGMg0Jvcc/s1600/Night+Of+The+Damned+Cineromanzo03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAO7ulnQs6PS9WVsbNNwyYPj-Ef7RbM8OKS0-9H0J130RMKQwYFCWTaizkHzwKTg1xXhFbRMsty0P0Mr6jx6J9KjmhKhsFIln7mTX7Yq2D5RfmYH8VEerogo7Xi4X7_dMxahSGMg0Jvcc/s400/Night+Of+The+Damned+Cineromanzo03.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtKnw2NslN0Av3tqs6zN5EXjoI27fOh9AeRqYsrPJc2uzNaVwLrbUUr0dmP04twGtCeb-4KXFgJ0NYeB8-IRj6VWwJAeBrQ8E5dOIH1hzuKbmEbu6Rm95UKYJu9JAzaocuGwNKNmQxoc/s1600/Night+Of+The+Damned+Cineromanzo04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtKnw2NslN0Av3tqs6zN5EXjoI27fOh9AeRqYsrPJc2uzNaVwLrbUUr0dmP04twGtCeb-4KXFgJ0NYeB8-IRj6VWwJAeBrQ8E5dOIH1hzuKbmEbu6Rm95UKYJu9JAzaocuGwNKNmQxoc/s400/Night+Of+The+Damned+Cineromanzo04.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHwmZFfZEtMDDCLET94RpPvjDiXMQC0O8V_76yxUE6xiS4AZ71PO69C95AC0TtIugP3_cxDqGwbGBmigFo4cb4OYT4JaTbsyCFaBEUSoKXyHLaKRB_GNEmoo9uDF4TdzOfsy2vst4lRI/s1600/Night+Of+The+Damned+Cineromanzo05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHwmZFfZEtMDDCLET94RpPvjDiXMQC0O8V_76yxUE6xiS4AZ71PO69C95AC0TtIugP3_cxDqGwbGBmigFo4cb4OYT4JaTbsyCFaBEUSoKXyHLaKRB_GNEmoo9uDF4TdzOfsy2vst4lRI/s400/Night+Of+The+Damned+Cineromanzo05.jpg" /></a></div>
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<i>Some assorted scans from the rare photo-novel version, which strongly emphasizes the sexual content</i>
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An English-language version was also prepared, with dubbing expert Ted Rusoff in charge of adapting the dialogue to English and directing the dubbing. This version was released in the UK (after being cut by the BBFC in order to achieve an <strong><em><a href="http://www.bbfc.co.uk/releases/night-damned">X rating</a></em></strong>) by Butcher’s Film Service, who paired it on a double bill with another Italian horror film: Mario Colucci’s <i>Something Creeping in the Dark</i> (1971). Surprisingly, the English-dubbed version never surfaced on VHS anywhere in the world, constituting the main reason why <i>The Night of the Damned</i> has remained obscure for many years. The film’s distribution rights are currently owned by Movietime but the description in their <b><i><a href="http://www.movie-time.it/show_movie.php?id=509">online catalogue</a></i></b> only lists an 85 minute Italian-language version. Sadly, this indicates that they do not have elements for the steamier scenes cut from the Italian print, and it probably also means that the English dub track is lost. In other words: the currently circulating fan version may well be the best version we’re ever going to get.
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As for the film itself, it is an interesting and atmospheric if not entirely successful slice of sleazy gothic horror. Its main drawback is that the lesbian sex scenes are drawn out to the point of near ludicrousness – stopping the film dead in its tracks for long stretches of time. The censored Italian cut is actually more agreeably paced but cannot be recommended due to its lack of frisson. In other words, the composite uncut version is still the way to go even if the repetitive, drawn out nature of the sex scenes do work to its disadvantage.
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The film also suffers from a distinct lack of originality, with the basic premise playing like an amalgamation of Edgar Allan Poe’s <i>The Fall of the House of Usher</i> and J. Sheridan Le Fanu’s <i>Carmilla</i>, complemented by a host of familiar satanic and haunted castle clichés. But as long as you are able to overlook these misgivings, <i>The Night of the Damned</i> offers a series of finer points that work in its favor. The film is above all stylish and colorful to look at – starting with the wonderful credits sequence, which features flickering flames superimposed over still shots of the actors drenched in vivid Mario Bava-esque red and green lighting while the enchanting title song from Amando De Ossorio’s <i>Malenka the Niece of the Vampire</i> (1968) plays.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCiSndgEkCjt_XD7g0wWcMl-6lWukbvFBUT4iPO4kuf8tcTDXiDrctJFQm5ksC15J84GmLWfOMGgw0WBnw6M7kjaIoj9IcqOFsWUAfptJwqUUwZzo0hk-A7IzlC_pnp8SVumlTDwb8V6Y/s1600/Night+Damned+-+Title+Sequence01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCiSndgEkCjt_XD7g0wWcMl-6lWukbvFBUT4iPO4kuf8tcTDXiDrctJFQm5ksC15J84GmLWfOMGgw0WBnw6M7kjaIoj9IcqOFsWUAfptJwqUUwZzo0hk-A7IzlC_pnp8SVumlTDwb8V6Y/s400/Night+Damned+-+Title+Sequence01.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNthfneOapPUpnKuOxe4mCfs1QYFkU5R9t4H3T5_0zlXVvtJpsrzO_zTqfXjwmaGBJQuRtzB2rrHLSTZ0nLBJ-tlNq90NRjL8q5CfrrWRgH9U1coQo4LTZ-plKv1-KXROqixHShs19n8/s1600/Night+Damned+-+Title+Sequence02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNthfneOapPUpnKuOxe4mCfs1QYFkU5R9t4H3T5_0zlXVvtJpsrzO_zTqfXjwmaGBJQuRtzB2rrHLSTZ0nLBJ-tlNq90NRjL8q5CfrrWRgH9U1coQo4LTZ-plKv1-KXROqixHShs19n8/s400/Night+Damned+-+Title+Sequence02.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkyMEaNFKyfafSbQocIdh1qVj-HZ1Lju8Hz6D-QGSWTZVTlUZQ7LfskbOkqefyTOGUC0qMmRixTpd6ibop1L0pXPjwgJIvBVXx6J8A1q-llMX1x_7IKyIOWeIqm4n35ZWnyYy1shORWO8/s1600/Night+Damned+-+Title+Sequence03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkyMEaNFKyfafSbQocIdh1qVj-HZ1Lju8Hz6D-QGSWTZVTlUZQ7LfskbOkqefyTOGUC0qMmRixTpd6ibop1L0pXPjwgJIvBVXx6J8A1q-llMX1x_7IKyIOWeIqm4n35ZWnyYy1shORWO8/s400/Night+Damned+-+Title+Sequence03.jpg" /></a></div>
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<i>A few images from the gorgeous, Bava-esque title sequence</i>
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A similarly striking use of color lighting is later employed in a satanic orgy scene in which we see Rita sitting on her throne while a column of vibrant pink smoke rises from a cauldron next to her and imbues the screen in a pink hue. It’s just too bad that the film doesn’t experiment more with this type of stylish lighting. Instead it frequently opts for the more traditionally gloomy lighting that one typically associates with such old-dark-house movies and this approach admittedly works as far establishing classic gothic atmosphere goes.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBv-XXNMi3OuVK0MT77wl_JE4MsB6LIqkthDO474G21eitmx1ko2x7DDbuxsuILzjNmfNzRbdNXlaEmeCpmgzScSWN45O3p1S21XAFafC43dOvwjWghUQOIxX8Lf-NOhZYCHqQRpFOtDQ/s1600/Night+Damned+-+Colors01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBv-XXNMi3OuVK0MT77wl_JE4MsB6LIqkthDO474G21eitmx1ko2x7DDbuxsuILzjNmfNzRbdNXlaEmeCpmgzScSWN45O3p1S21XAFafC43dOvwjWghUQOIxX8Lf-NOhZYCHqQRpFOtDQ/s400/Night+Damned+-+Colors01.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3BVrPWdzyDIC6fhtDI2Ibv0nHBJaNp4peeWoFYDMw8WdCjTTiAKbMvHlPfMtxZYVezOfi87mtraM-JKKIRYrkqjh9ylq-mz-q_FuyIErKL79B53lPIcAKQcCiZqBj9cnDqlRrW7dGeE0/s1600/Night+Damned+-+Colors02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3BVrPWdzyDIC6fhtDI2Ibv0nHBJaNp4peeWoFYDMw8WdCjTTiAKbMvHlPfMtxZYVezOfi87mtraM-JKKIRYrkqjh9ylq-mz-q_FuyIErKL79B53lPIcAKQcCiZqBj9cnDqlRrW7dGeE0/s400/Night+Damned+-+Colors02.jpg" /></a></div>
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<i>Some dazzling use of sparkling colors</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjReMidPCNQaEig-Pp8jDyz37qI297QQuLv5FlMqo0RnHOa0X6GrunBaztWRgmQf7EoaixLY6Pin_fY06qoj1nRKineb67yZlSUz1MksKoaBeu1hSoYMi3-Fun61Odw04Ri442-wGItly8/s1600/Night+Damned+-+Gothic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjReMidPCNQaEig-Pp8jDyz37qI297QQuLv5FlMqo0RnHOa0X6GrunBaztWRgmQf7EoaixLY6Pin_fY06qoj1nRKineb67yZlSUz1MksKoaBeu1hSoYMi3-Fun61Odw04Ri442-wGItly8/s400/Night+Damned+-+Gothic.jpg" /></a></div>
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<i>More classic gothic imagery</i>
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One particularly intriguing aspect to the story is the employment of cryptography, anagrams and poetry by Baudelaire as clues to solving the film’s mystery. This hints that <i>The Night of the Damned</i> was originally intended for a more sophisticated target audience but the way it ultimately turned out, these plot points are somewhat lost in the shuffle among all the lesbian shenanigans. Likewise, the fact that Rita is draining her female victims of their blood – apparently to retain an eternally youthful appearance, Elizabeth Báthory-style – opens the door for a vampiric edge, but it is never made explicit, and nothing much ever comes from this potentially interesting plot point.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUt5Ef7186XLeT0I65b-VigpCXMrlRKBE2vwyuPvGb_83Q-ERxESY7K72FNl3HzJi0TgXrTUVPHsVgBKFfAVVZz0NSkRq5bNk7u0vLXF7QnAA1_AqSsJBr2AgElmVtgvqWuoFa3Ip6eaw/s1600/Night+Damned+-+Claws01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUt5Ef7186XLeT0I65b-VigpCXMrlRKBE2vwyuPvGb_83Q-ERxESY7K72FNl3HzJi0TgXrTUVPHsVgBKFfAVVZz0NSkRq5bNk7u0vLXF7QnAA1_AqSsJBr2AgElmVtgvqWuoFa3Ip6eaw/s400/Night+Damned+-+Claws01.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYxV528UgHWNbAy4wXSx5pss7g-w-moHohNy1opqDmzSL6wVVKvw01kLg44_SubcGD_4-H-KE_EnaZazMXtItFOEaODIYe9K4e5ZEJmE209w5PMnmriES1ugXg7jVDDMPMN03JlWLZ9I/s1600/Night+Damned+-+Claws02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYxV528UgHWNbAy4wXSx5pss7g-w-moHohNy1opqDmzSL6wVVKvw01kLg44_SubcGD_4-H-KE_EnaZazMXtItFOEaODIYe9K4e5ZEJmE209w5PMnmriES1ugXg7jVDDMPMN03JlWLZ9I/s400/Night+Damned+-+Claws02.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrJ2KqJuEcmzmqDZ4WNR2aaHH5Qp1OcWqn0AY9bdQHrZAj_MJNUNrpV2dlB33YARDm44MvzaN4woo98ig3Lz97NHmv0ITgwxzd2e6T9adPRVoDWsxTMLoVqDDr_sSJ0zqheuEBk90VjQ/s1600/Night+Damned+-+Claws03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrJ2KqJuEcmzmqDZ4WNR2aaHH5Qp1OcWqn0AY9bdQHrZAj_MJNUNrpV2dlB33YARDm44MvzaN4woo98ig3Lz97NHmv0ITgwxzd2e6T9adPRVoDWsxTMLoVqDDr_sSJ0zqheuEBk90VjQ/s400/Night+Damned+-+Claws03.jpg" /></a></div>
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<i>Rita puts her deadly claws to use and drains her victim of blood</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtq-_CJIRlp_UuDTTwnl_LAA4zoGNFMDaIRBwGy8_BP0Z0gQnEK8P8eoNBWvyMeoT-EjuT-yPzZNPPtBBVEUcxJBe6Rwnz7j4rrWqwS0CIRgSrvPrrAUCP3PmKd_GQzGzxXY7npLFjqo/s1600/Night+Damned+Newspaper+Ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtq-_CJIRlp_UuDTTwnl_LAA4zoGNFMDaIRBwGy8_BP0Z0gQnEK8P8eoNBWvyMeoT-EjuT-yPzZNPPtBBVEUcxJBe6Rwnz7j4rrWqwS0CIRgSrvPrrAUCP3PmKd_GQzGzxXY7npLFjqo/s400/Night+Damned+Newspaper+Ad.jpg" /></a></div>
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<i>Even though the film never explores its vampiric theme, this newspaper ad misleadingly plays up that angle with the following tag line: “A mysterious castle: vampires, hallucinations, horrors! The countess Dracula in the latest and most chilling film of <b>Terror</b>!!!”</i>
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Still, while the film may miss out on the opportunity to explore the above plot points in a fully satisfactory fashion, one should appreciate the fact that they are there at all, as they do put a bit of a refreshing spin on the proceedings. And so do other memorably bizarre little moments scattered throughout the film, such as a scene in which the sickly Roderick Usher-esque Guillaume is talking to Jean and we see the image of a skull momentarily superimposed over Guillaume’s face. Hardly the most subtle way to signalize him as doomed but it is nevertheless a strange and eerie image that stands out. Other memorable and well-staged sequences include the macabre funeral procession and scenes down in Rita’s smoky, cobwebbed crypt – well helped by Girolamo La Rosa’s stylish cinematography and lighting, which makes good use of the medieval castle setting to create a delightful gothic atmosphere.
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<i>The rather bizarre skull scene</i>
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<i>Rita’s misty underground crypt is a stylish, delightful sight</i>
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The interesting cast is led by handsome French actor Pierre Brice, who became a superstar in Germany in the 1960s due to his role as the Apache-chief Winnetou in a long line of popular German films based on the novels by Karl May. As the popularity of the Karl May adaptations began waning by the late 1960s, Brice tried to break free of the Winnetou image, and while he never quite managed to do so, his attempts saw him pop up in a couple of interesting French and Italian productions during the 1970s. <i>The Night of the Damned</i> was, however, not entirely new territory for Brice, who had already starred in Giorgio Ferroni’s stylish Italian gothic horror classic <i>The Mill of the Stone Women</i> (1960) way back in his pre-Winnetou days. Here, however, he’s not really at the top of his game – at times looking both a little bewildered and out of place while Ratti focuses most of his attention on the attractive female cast.
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<i>A slightly bewildered-looking Pierre Brice</i>
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Cast in the female lead as Danielle is well-shaped, blonde starlet Patrizia Viotti, who had started her career by appearing nude in erotic photo-novels while she was still underage, and who became a favored object of the yellow press due to a scandalous and highly publicized romance with British-born singer Mal in 1969. This propelled Viotti into a busy movie career in the early 1970s that started with the erotic film <i>Erika</i> (1971), which – like <i>The Night of the Damned</i> – was directed by Filippo Walter Ratti and paired Viotti with Pierre Brice. She also appeared in a small but pivotal part as Barbara Bouchet’s lesbian lover in Silvio Amadio’s enjoyable giallo <i>Amuck</i> (1972), was the female lead in Leopoldo Savona’s rather dismal giallo <strong><em><a href="http://euro-fever.blogspot.no/2015/07/la-morte-scende-leggera.html">La morte scende leggera</a></em></strong> (1972), and appeared in a few decamerotic films before dropping off the scene almost as quickly as she had appeared. When watching <i>The Night of the Damned</i> it is easy to see why. Viotti simply wasn’t a particularly good actress – hampered by both a wooden demeanor and lack of expressivity. It’s obvious that she was put in movies simply because of her notoriety in the gossip pages and once that dried up, so did her career. Tragically, Viotti quickly fell on hard times – getting involved with drugs and being arrested numerous times – before passing away in 1994 at just 44 years old.
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<i>Patrizia Viotti in full scream queen mode</i>
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The most appealing presence in the film is unquestionably the mysterious witch played by the gorgeous, raven-haired Angela De Leo – best known for starring in a series of photo-novels (of both the romantic and the sexy variant). Clad in black gowns and with heavy eye-make up, she always has the same fixed expression and icy stare while the camera photographs her in under-lit tones to make her appear more sinister and mysterious. This gives De Leo a truly striking and uncanny appearance that commands attention, and she is used effectively even if she doesn’t do that much actual acting.
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<i>The ravishing Angela De Leo - heavily made-up and carefully lit at all times</i>
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While far from a lost classic, <i>The Night of the Damned</i> is just atmospheric and sleazy enough to keep fans of such movies diverted throughout its running time. You could definitely do a lot worse than this nice-looking little flick.
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Pierre Brice as Jean Duprey</i>
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<i>Patrizia Viotti as Danielle Duprey</i>
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<i>Angela De Leo as Rita Lernod</i>
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<i>Mario Carra as Guillaume de Saint Lambert</i>
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<i>Antonio Pavan (???) as Inspector Gérard</i>
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<i>Alessandro Tedeschi as Professor Berry</i>
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<i>Daniela D'Agostino as The maid</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-52152483275077598522015-01-30T18:08:00.000-08:002020-04-21T10:52:04.384-07:00Due occhi per uccidere<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1968
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Directed by Renato Borraccetti
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Cast:
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Jack Taylor, Aichè Nanà, Gia Sandri, Barth Warren, Dan Daniels, Diego Parravicini, Augusto Bonardi, Ignazio Balsamo, Fabio Testi, Angela De Leo</b>
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One of <i>the</i> most obscure Italian genre films of the 1960s, <i>Due occhi per uccidere</i> – the only film produced by Milanese production company Daniels Film – was the fourth and final film directed by the elusive Renato Borraccetti, whose previous three films had all been melodramas. With <i>Due occhi per uccidere</i> (i.e. Two Eyes to Kill) the little-known filmmaker tried his hand at a crime movie but found little success: after a brief theatrical run in 1968, it vanished into complete obscurity and was never issued on VHS anywhere in the world. It reportedly aired on an Italian TV channel back in the 1980s but no recordings of this broadcast are known to exist – damning the film to complete unavailability.
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This finally changed in 2014, when DjangoLi of the <b><a href="http://www.lovelockandload.net/forum/index.php">LoveLockAndLoad forum</a></b> was able to snap up a 35mm version of the film on eBay. The film prints were badly degraded and terribly scratched, and needed to be cleaned up and telecined – a costly endeavor that was only made possible due to a fundraiser at the LoveLockAndLoad forum (I was one of the lucky contributors who got to play a small part in rescuing this rarity) and the film is finally back after 46 years of unavailability. Unfortunately, the guy who sold this 35mm version on eBay only had 3 of the 4 reels. The third reel (amounting to around 15 to 20 minutes) is missing, so this rediscovered version only runs 55 minutes. The missing footage is certainly regrettable, but do not let that discourage you – the fact that this film is finally available <i>at all</i> is still of great significance for aficionados of rare Euro cinema.
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But what’s <i>Due occhi per uccidere</i> like then? I’ve seen it described as a giallo but I wouldn’t really categorize it as such. It’s more of a low-rent crime movie with a few vague thriller, horror and spy motifs thrown into the mix. It’s set in France, and begins by introducing us to a man named Jean (played uncredited by a young Fabio Testi), who is sentenced to death for an unspecified crime. He’s allowed to keep his beloved trumpet with him on the night before his execution, and he spends the night playing a moody jazz tune. The next morning he is brought to the gallows and executed by guillotine in spite of his staunch proclamations of innocence.
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<i>Poor Jean meets a grisly fate</i>
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Cut to a year later in a French nightclub run by Max (Jack Taylor), a leering and thoroughly despicable gangster who is running all kinds of illegal operations from his club. Unbeknownst to Max, his office is being monitored through some sort of fancy surveillance machine set up by Rosy (Gia Sandri), one of the dancers from his club, and her friend Pierre (Barth Warren). Pierre is operating the machine from a secret location and is staying in contact with Rosy through a high tech listening device implanted in her big, funky glasses and controlled by her blinking cigarette box!
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<i>The slimy Max</i>
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<i>Pierre and Rosy operate their fancy surveillance equipment</i>
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Rosy and Pierre are out to get Max, and thanks to their secret monitoring they are able to sabotage some of his criminal operations, as well as alienating him from his dancer-girlfriend Nadia (Aichè Nanà) by sending her to Max’s office just as he’s about to rape a hapless underage girl (played uncredited by Angela De Leo from <i>Night of the Damned</i>, 1971).
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<i>Max assaults a helpless girl...</i>
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<i>...but gets caught in the act by his furious girlfriend</i>
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It eventually transpires that Pierre and Rosy were close friends of Jean, the young man who was guillotined at the start of the film, and they are convinced that Max is the one who’s really responsible for the crime Jean was executed for. They continue to torment Max by sending him the gun used to commit the crime, and by playing the tune that Jean loved playing on his trumpet...
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<i>Max is gradually driven to madness and paranoia</i>
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As wonderful as it would be to proclaim that <i>Due occhi per uccidere</i> is a lost classic that has finally been unearthed after more than 45 years of unavailability, the truth is that it’s easy to see why this one faded into obscurity in the first place. It just isn’t a very good film – plagued by a meandering plot that moves along at a plodding pace, and by Borraccetti’s heavy-handed direction, which is unable to infuse the story with any sort of tension. Most problematic by far, however, is the fact that nothing much ever seems to happen. I mean, there’s around 15-20 minutes worth of footage missing and yet it didn’t feel as if anything was missing when I watched it, and that should give you a pretty good idea of just how hopelessly uneventful this whole mess is! I have no idea what goes on in that missing reel, but it can’t have been a whole lot.
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The film’s uneventfulness is probably at least partially a byproduct of the fact that it’s a terribly cheap production whose impoverished nature is made apparent by its rampant use of curtains instead of walls, the pitiful-looking surveillance machine made out of cardboard, a barely furnished police communications room, and a setting that is confined almost exclusively to the nightclub.
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<i>The sorry-looking police communications room</i>
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<i>One of the numerous instances of curtains being used instead of walls</i>
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Yet, in spite of the film’s all-around incompetence, I confess to still finding <i>Due occhi per uccidere</i> impossible to dislike – due in part to its great rarity, but also because it possesses that very peculiar and hard to define charm that only the strangest of zero budget Euro-oddities do. The high points include Piero Umiliano’s moody jazz score accompanied by the great trumpeter Nini Rosso; the opening sequence in which Fabio Testi is led to the scaffold; Aichè Nanà’s sexy and bizarre nightclub act; and the sequence portraying how Max’s sanity starts to crack, with the light flickering and the camera frenziedly zooming in and out on his sweaty, anguished face. I also like how the high-tech surveillance machine and the radio communication device in Rosy’s glasses lend a small Eurospy vibe to the proceedings, and altogether the general WTF-ery of the piece is a definite plus.
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And then there is of course the great Jack Taylor (a familiar face to all fans of Spanish horror and exploitation cinema), who is very nicely cast as the slimy and loathsome Max. He’s pretty over the top but is very enjoyable to watch and brings a delightful and much needed intensity to an otherwise rather low-octane effort. Taylor did this film around the same time that he appeared in <i>Succubus</i> (1968), the first in a long line of films he did for ultra-prolific Spanish filmmaker Jess Franco. And indeed, Taylor’s presence here, together with the moody jazz score, bizarre nightclub acts, singular setting and zero budget atmosphere lend somewhat of a Franco-esque ambience to the film – which may be a good or a bad thing, depending on how you feel about the eccentric Spaniard.
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<i>Jack Taylor is all kinds of awesome in the role of Max</i>
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The film also boasts a delightfully sexy performance by Lebanese-born actress/dancer Aichè Nanà, who became a tabloid sensation in Italy in 1958 when she performed a scandalous striptease in a star-packed Roman nightclub – a sensationalized event that served as the inspiration for a famous sequence in Federico Fellini’s <i>La Dolce Vita</i> (1960). The incident propelled Nanà into a film career in the 1960s, but she never really landed roles in anything but cheap and barely released films such as the early giallo <b><i><a href="http://euro-fever.blogspot.com/2013/06/a-come-assassino.html">A... come assassino</a></i></b> (1966), or obscure spaghetti westerns like <i>Chrysanthemums for a Bunch of Swine</i> (1968), directed by her then-husband Sergio Pastore. As such, Nanà was right at home appearing in <i>Due occhi per uccidere</i>, but it should be said that she really comes off quite good here. Not so much because of her exaggerated, eye-rolling performance, but rather for her sexiness and for providing one of the film’s most memorable moments when she performs a weird nightclub dance that turns even weirder when a bare-chested guy with an animal mask enters the stage and starts cracking a whip at her.
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<i>Aichè Nanà’s bizarro dance routine</i>
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The only other substantial roles in the films are those of the avenging duo played by Gia Sandri and Barth Warren, about whom not much is known. Warren only appeared in a handful of films but was a very prolific photo-novel actor under the name Bart Anera. His photo-novel career consisted, almost without exception, of villainous roles, and his face is indeed better suited to such parts than to the one he is playing here. Unlike Warren, Sandri actually appeared in a fair number of films throughout the 1960s – above all in spaghetti westerns as well as a couple of comedies with Franco and Ciccio – but without ever making it big, which is a pity as she’s very attractive and charming here.
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<i>Barth Warren and Gia Sandri as the film’s avenging couple</i>
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<i>Due occhi per uccidere</i> is a very strange and peculiar film that is unlikely to appeal to most viewers, but it’s a terribly fascinating work that is great to finally have seen. It’s certainly no lost classic, but Jack Taylor fans and admirers of zero budget Euro-oddities will surely want to check it out!
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Jack Taylor as Max</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifZnhRkchjslGe_Nr58PICiprPrfWJfHwaahp7s57l5hn-TmvsWiREy_l1YPh2tkXhQGo5BjWb8fShBQ5ajF9E2kR-ehH5TVqDUGo43-uoz3UJZtIOhay-7lIiaNhk1eikkr5YZ1pYJ44/s1600/Due+Occhi+-+Aiche+Nana.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifZnhRkchjslGe_Nr58PICiprPrfWJfHwaahp7s57l5hn-TmvsWiREy_l1YPh2tkXhQGo5BjWb8fShBQ5ajF9E2kR-ehH5TVqDUGo43-uoz3UJZtIOhay-7lIiaNhk1eikkr5YZ1pYJ44/s400/Due+Occhi+-+Aiche+Nana.jpg"></a></div>
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<i>Aichè Nanà as Nadia</i>
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<i>Gia Sandri as Rosy</i>
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<i>Barth Warren as Pierre</i>
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<i>??? as Chéri</i>
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<i>??? as The Rat</i>
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<i>Augusto Bonardi as Gregoric</i>
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<i>Diego Parravicini as Commissioner Marbel</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcQVreNu5dsF8gxSwAQJGniPHSnGDxuQFP2iCGPwtqdNMmGoH_-rFpUA1QBA3ikdd16i1vro_SMBIZpOaohG2arnhX_5v-bsbVmiP2rlxyXhb0g2LXjkdh-7k06E9Nom1a69HBiQyoW0/s1600/Due+Occhi+-+Fabio+Testi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcQVreNu5dsF8gxSwAQJGniPHSnGDxuQFP2iCGPwtqdNMmGoH_-rFpUA1QBA3ikdd16i1vro_SMBIZpOaohG2arnhX_5v-bsbVmiP2rlxyXhb0g2LXjkdh-7k06E9Nom1a69HBiQyoW0/s400/Due+Occhi+-+Fabio+Testi.jpg"></a></div>
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<i>Fabio Testi as Jean</i>
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<i>Angela De Leo as Josette</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com2tag:blogger.com,1999:blog-3249679003059730182.post-90807446434956967722015-01-19T10:19:00.004-08:002015-07-07T15:11:46.288-07:00Death Has Blue Eyes/Το κορίτσι βόμβα<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ts076Av4wZ7_n7ZGHmlQOFZtBCEq85WJwMPWTI4xngGhNRgbCRhQowSAv1JdmrOaMXi6lKp6fMTPttjcOxhFabOFfkDL3k4nUSPOrsoYMkaJjOAzUaSjxX9WCU8Hmy_HMTow1UJgXmA/s1600/Death+Has+Blue+Eyes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ts076Av4wZ7_n7ZGHmlQOFZtBCEq85WJwMPWTI4xngGhNRgbCRhQowSAv1JdmrOaMXi6lKp6fMTPttjcOxhFabOFfkDL3k4nUSPOrsoYMkaJjOAzUaSjxX9WCU8Hmy_HMTow1UJgXmA/s400/Death+Has+Blue+Eyes.jpg" /></a></div>
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<b>Greece, 1975
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Directed by Nico Mastorakis
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Cast:
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Peter Winter, Chris Nomicos [Hristos Nomikos], Maria Aliferi, Jessica Dublin, Louise Melinda, Marie Elise Eugene, Andrew Johnson [Andreas Ioannou], Philip Sherwood, Clay Huff, Jean-Claude Petit, Gerard Gonalons, Danny Rochas, George Ranger, Maurice Rutherford, Bill Peyton, Thom Arahouas</b>
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Greek-born director and screenwriter Nico Mastorakis managed to carve out something of a name for himself in the 1980s when he set up his own production company Omega Entertainment in the US and began churning out a series of enjoyable and well-cast low-budget exploitation movies such as <i>Blind Date</i> (1984) starring a young Kirstie Alley, <i>Nightmare at Noon</i> (1988) with Wings Hauser, Bo Hopkins and George Kennedy, and <i>Hired to Kill</i> (1990) with Brian Thompson, Oliver Reed, George Kennedy and José Ferrer. But the one film that everyone always remembers is the one Mastorakis made in his native Greece: the notoriously violent and offensive <i>Island of Death</i> (1976), which was banned in a number of countries and ended up on Britain’s infamous Video Nasty list. Less fortunate was Mastorakis’ debut, <i>Death Has Blue Eyes</i>, which he wrote and directed shortly before <i>Island of Death</i>. I’ve long wanted to see this evasive film, whose terrific giallo-esque title had me intrigued since the first time I heard about it, but as it turns out, this strange little film is nothing at all like a giallo.
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The plot circles around a young man named Bob Kowalski (Peter Winter), who arrives in Athens where he is reunited with his best friend Ches Gilford (Hristos Nomikos). Bob and Ches are both con men and they spend most of their days pulling off petty scams or trying to get with hot women.
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<i>Ches and Bob</i>
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One of the pair’s favorite scams is to dine in fancy hotel restaurants and pass themselves off as hotel guests and charge the bill to a random room. But one day this con job goes awry when the room Bob and Ches tell the waiter to charge the bill to is revealed to belong to the two women sitting at the table next to them. The women are Geraldine Steinwetz (Jessica Dublin), an elegant middle-aged woman, and her sexy, blonde daughter Christine (Maria Aliferi). Gerladine and Christine seem amused rather than angry and don’t care to report the incident, but Bob gets a bit freaked when Christine reveals that she knows his name and his way of operating. He gets the distinct impression that she can read his mind.
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<i>Bob gets busted...</i>
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<i>...by Geraldine...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0DIdaadTRfq-D8E4m7rEsYTl4D4vP1YCEslsM4Xi05vOn5IzZTq7vQwJw1U0Gx5Sq5GAdFQbCn7sdnftFEub3BgOLdVMY_9HC4v0EjzGQ3R29CRL6UDDxYQ-EVMgdZ7JiA6bNcJ39wIg/s1600/Blue+Eyes+-+Christine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0DIdaadTRfq-D8E4m7rEsYTl4D4vP1YCEslsM4Xi05vOn5IzZTq7vQwJw1U0Gx5Sq5GAdFQbCn7sdnftFEub3BgOLdVMY_9HC4v0EjzGQ3R29CRL6UDDxYQ-EVMgdZ7JiA6bNcJ39wIg/s400/Blue+Eyes+-+Christine.jpg" /></a></div>
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<i>...and her lovely daughter Christine</i>
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Next, Bob and Ches head to fancy villa owned by an unattractive but rich old bag that Ches is screwing. She’s out of town for the moment, so Ches is living in her house together with a buxom blonde named Maria, who prances around totally naked (except for a small apron) and acts as his maid and lover.
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<i>The trusty Maria</i>
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Luckily for Bob, Ches is such a good sport that he lends out Maria to him. And later they get into a steamy threesome. But, unfortunately, Ches’ rich lover misses him so much she decides to come home early and is mortified to find him getting it on with Maria and Bob in her bed.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKvtWg1ZIZ22-K6IaTbdqjzT6tAvxlSEx-ObG0r4RCcXXRtuuhxkUD0bwocl-6oNH3XIXg6J33ykiShTOYSqpn0cXy-xNIE1wiXa66gi0lrjdAtljqqal4XKxJewNAt4VAWDk-UvuOuuM/s1600/Blue+Eyes+-+Threesome4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKvtWg1ZIZ22-K6IaTbdqjzT6tAvxlSEx-ObG0r4RCcXXRtuuhxkUD0bwocl-6oNH3XIXg6J33ykiShTOYSqpn0cXy-xNIE1wiXa66gi0lrjdAtljqqal4XKxJewNAt4VAWDk-UvuOuuM/s400/Blue+Eyes+-+Threesome4.jpg" /></a></div>
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<i>Bob and Ches’ fun is spoiled by the arrival of Ches’ sugar mama</i>
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This unfortunate incident puts a permanent end to Ches and Bob’s luxurious living, so they kiss Maria goodbye and hit the road in search of new adventures. But wait a minute! “Wasn’t this supposed to be some kind of thriller?”, you might be asking yourself at this point, and indeed, so was I when I first sat through this. We’re about 20 minutes into the film and so far it has played out more like a moronic sex comedy than any kind of thriller. But all of that is about to change (well… sort of) when Bob and Ches are contacted by Geraldine Steinwetz, the middle-aged woman from the hotel restaurant. Geraldine reveals that the reason why Bob felt as if Christine was reading his mind earlier was because that’s exactly what she did. “My daughter is a mind reader... Of enormous abilities!” Geraldine proudly proclaims. She then explains that two months ago, while in Warsaw, Christine unwittingly became witness to a political murder. She saw the killer’s face and before she could control her incredible psychic abilities she immediately knew his name and who had hired him to kill. So now Christine and Geraldine are being hunted by a deadly organization out to silence them, and Geraldine’s master plan for how to avoid this is to hire Bob and Ches to protect them. It doesn’t make a lick of sense that Christine and Geraldine would put their safety in the hands of two petty amateur scammers – even Bob and Ches themselves question this strange decision – but Geraldine insists that this is how it’s got to be and she offers to pay them well and cover all of their living expenses.
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Naturally, Bob and Ches agree to act as protectors for Christine and Geraldine, and they go about doing so by taking the two women out on the town to dance, drink and party! During a nocturnal trip to some local café, the jolly foursome dance and have fun while the locals are inexplicably throwing plates on the floor! Is this some kind of Greek custom??
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA3ytmEuSuZXd7hJyJ8FqQesN1rq8oMfaAz684bzaVlWS5qeJYORcZbLngUIFttqM2KV49SoIij7HG99OKRfr0MDFoVHq5S6IhwDIub_6fawl1nGTtskDc3rxDTfqaZDpxC7l7SC3sns/s1600/Blue+Eyes+-+Plate+Dance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA3ytmEuSuZXd7hJyJ8FqQesN1rq8oMfaAz684bzaVlWS5qeJYORcZbLngUIFttqM2KV49SoIij7HG99OKRfr0MDFoVHq5S6IhwDIub_6fawl1nGTtskDc3rxDTfqaZDpxC7l7SC3sns/s400/Blue+Eyes+-+Plate+Dance.jpg" /></a></div>
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<i>Plate throwing!</i>
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But the fun is interrupted when a motorcycle-riding assassin shows up and starts shooting up the place. In the ensuing hysteria, poor Geraldine is separated from the others and is left to fend for herself while Bob, Ches and Christine manage to get to the car and escape.
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<i>Bob, Ches and Christine escape...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFyWzODeYLxrazcJlar-bRQO4eIW0_N-ZIV3WU5MAJjEyY5xZhrmPYaob5rnwU1oZ5pDftZpHAaS9eHWTjnGCwz8oSY_t4vOoZIBF1KXMGIg9UJnqovl5WnW0e2Wvzl28LlJ1S9k7XJI/s1600/Blue+Eyes+-+Motorcycle+Assassin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFyWzODeYLxrazcJlar-bRQO4eIW0_N-ZIV3WU5MAJjEyY5xZhrmPYaob5rnwU1oZ5pDftZpHAaS9eHWTjnGCwz8oSY_t4vOoZIBF1KXMGIg9UJnqovl5WnW0e2Wvzl28LlJ1S9k7XJI/s400/Blue+Eyes+-+Motorcycle+Assassin.jpg" /></a></div>
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<i>...but are chased by motorcycle-riding assassins...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIQOHudOe-pkIJ6uoObPu_d7UQsmPchdYYvQn4kpgQSLTD72csmH5Q4qdKtX3xtaG0qagAegjgRQ01xB_C3YNVpACifFa3KK2NZCegZKZ2uOegTVKmTt_yVZpdiEexXFV45qjdhFQZxA/s1600/Blue+Eyes+-+Geraldine+In+Peril.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIQOHudOe-pkIJ6uoObPu_d7UQsmPchdYYvQn4kpgQSLTD72csmH5Q4qdKtX3xtaG0qagAegjgRQ01xB_C3YNVpACifFa3KK2NZCegZKZ2uOegTVKmTt_yVZpdiEexXFV45qjdhFQZxA/s400/Blue+Eyes+-+Geraldine+In+Peril.jpg" /></a></div>
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<i>...while Geraldine is left to fend for herself</i>
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After fending off a series of deadly motorcycle assassins, the trio makes a stop on a beach, where they decide to put up a tent and light a fire. Unfortunately, yet another motorcyclist assassin shows up the next morning. Bob, Ches and Christine hide while the assassin goes to search their tent, and as soon as he’s inside, Christine concentrates super-hard and uses her psychic powers to blow up the tent! Wow! Apparently, Christine does a lot more than read minds.
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<i>Mind over matter!</i>
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But they’re not out of the woods yet. The mysterious killer organization has sent a helicopter that’s shooting at our three friends. Bob wants Christine to blow it up, but since the budget isn’t big enough to blow up a helicopter, Christine just whines that “No, I can’t! I’ve tried! It’s moving!” Will Bob, Ches and Christine make it out alive? And will there be more sex and comedy? I won’t spoil it for you, but chances are pretty good you’ll be able to guess the answers to both of those questions.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5tW2Z9w_wQ27pAe_wS_G8XTdpC7yyg0qkxFqbiPWBevHO2O6dxTevHqA0LCp9g1ZeMVPJfLpOsmpuPl_fTAd_fzXBl4TgHyWp6KrKcVVTwAik9mNj_g0QbRtQNHyXp4AjIH9xJLgoWRo/s1600/Blue+Eyes+-+Helicopter3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5tW2Z9w_wQ27pAe_wS_G8XTdpC7yyg0qkxFqbiPWBevHO2O6dxTevHqA0LCp9g1ZeMVPJfLpOsmpuPl_fTAd_fzXBl4TgHyWp6KrKcVVTwAik9mNj_g0QbRtQNHyXp4AjIH9xJLgoWRo/s400/Blue+Eyes+-+Helicopter3.jpg" /></a></div>
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<i>Helicopter assassins</i>
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You know, it’s funny how people keep raving about Robert Rodriguez’s <i>From Dusk Till Dawn</i> (1996) and its unexpected midway shift from cynical action-crime flick to vampire horror comedy, while completely ignoring the genre-bending wonders pulled off by Nico Mastorakis two decades earlier with <i>Death Has Blue Eyes</i>, and which he would continue to employ in many of his American film. But, unfortunately, Mastorakis executes the genre hopping in his debut feature without any sort of finesse or cleverness – erratically jumping from sex comedy of the dumbest sort to somewhat of a thriller, only to quickly change gear and morph into more of an action film and then continuously puncturing the action with further acts of funny business and softcore sex. Ironically, Mastorakis’ unyielding attempts to cater to all tastes only results in a tonally schizophrenic film that will likely appeal to no one at all. Well, except for lovers of demented, WTF Euro cinema that is, and that’s actually a pretty big crowd. Even so, it still isn’t a good film by any stretch of the imagination, but if you approach it the right way, the film’s incredible daftness can be quite endearing.
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There are way too many wacky highlights to mention but I really must give proper due to two stand-out sequences. The first one comes when the constantly horny Bob tries to hook up with a voluptuous blonde stripper named Debra, who invites him to come to her club to watch her “dance”, but once he gets there he finds the place deserted. Debra suddenly appears behind him – wearing a tight blouse shirt that is barely able to contain her jutting tits – and Bob exclaims that “I didn’t expect to find you in a place like this. I though you invited me to watch you dancing”. “No, I invited you to see me shooting!” replies the sexy Debra and whips out a gun.
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<i>Debra, the trigger happy stripper</i>
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Luckily for Bob, he’s able to overpower her, and with the gun in his possession he forces Debra to strip for him. Why? Hell if I know, but I guess Mastorakis was ready to use any excuse for piling on some naked flesh.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidXjCg5uZHxqgsTmxXRKCkYFsocoxbysuCXGF2Jms-Ege5UlzX1QP-yTcpnah-DMkv0Tu5PijkyHQoGpe9TCjTUCzbFYQX0g6JjZe2xjC_fGP-wMeJ_U_4oE9RyPhDJAP9Sp9SplCbLHE/s1600/Blue+Eyes+-+UK+Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidXjCg5uZHxqgsTmxXRKCkYFsocoxbysuCXGF2Jms-Ege5UlzX1QP-yTcpnah-DMkv0Tu5PijkyHQoGpe9TCjTUCzbFYQX0g6JjZe2xjC_fGP-wMeJ_U_4oE9RyPhDJAP9Sp9SplCbLHE/s400/Blue+Eyes+-+UK+Poster.jpg" /></a></div>
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<i>This scene is so awesome that the UK distributors saw fit to plaster it all over the poster – accompanied by a completely misleading tagline!</i>
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The second scene also involves Bob! This time he hooks up with a sexy race car driver – played by the lovely Marie Elise Eugene, who later went on to play the sassy black nightclub singer in Maurizio Pradeaux’s Athens-lensed giallo <b><i><a href="http://euro-fever.blogspot.com/2011/05/death-steps-in-darkpassi-di-morte.html">Death Steps in the Dark</a></i></b> (1976). While the two of them are getting hot and heavy, Christine uses her psychic abilities to connect to Bob’s mind to see what he’s up to, and for whatever reason that gets poor Bob all limp-dicked and unable to continue with the lovemaking. He then picks a flower from a bouquet on the table and places it in his disappointed lover’s ass crack before sitting down in a corner to sulk! And, no, I’m not making any of this up!
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<i>Christine’s psychic probing messes with Bob’s libido!</i>
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Other plus points include some very slick cinematography and stylish camera angles, as well as some rather nice car stunts and a couple of cool plot twists in the final third to shake things up. But, unfortunately, for all these positives there are at least as many negatives, including an occasionally clunky soundtrack, a truly horrendous English dubbing job, jumpy and haphazard editing and all the constant comedy stuff with Bob and Ches that just isn’t funny at all.
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A complete absence of logic sense also plagues the film throughout its duration. A lot of things seem to happen completely at random, with the characters doing stuff because the script requires it but without any sort of comprehensible motivation to back up their actions. For example, why do Ches and Christine say that the car is out of gas and ask Bob to get out and push – only to drive off and leave him behind on his own? And later when he catches up with them again, none of them mention the whole thing. And likewise, why are Bob and Ches (who seem to be portrayed as heterosexual) so obsessed with trying to talk women into having threesomes with them, and why do they sleep in the same hotel room? Why does Ches only charge $20 for his services as a gigolo? Why does the head of the killer organization describe Ches as a karate expert when we never get to see him put those skills to use? And why do Geraldine and Christine think it’s a great idea to hire two dimwitted horn dogs to protect them when Christine does a much better job of protecting them by herself? I mean, not only does she blow up tents with her mind but there’s also a super cool scene in a bowling alley where she uses her psychic powers to get an assassin to strange himself to death. It’s not often you get bombarded with this sort of facepalming daftness at such frequent intervals, though, and it certainly adds to the unintentional hilarity.
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<i>Christine fends off an assassin</i>
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To be fair, I should add that the version I saw clocked in at only 77 minutes. Apparently, there’s a version released in the UK – under the dreary title <i>The Para Psychics</i> – which is supposed to run a full 90 minutes. It’s possible that this version makes more sense, but I wouldn’t bet on it!
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<i>The British VHS release</i>
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I’m not at all familiar with leading men Peter Winter and Hristos Nomikos (credited under the anglicized pseudonym Chris Nomicos) but I found them both to be thoroughly unlikable and lacking in the charisma department. The stunningly beautiful Maria Aliferi, however, makes for a very sexy and appealing heroine. She’s terribly charming and has a very expressive face.
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But the biggest delight in the cast is American cult actress Jessica Dublin as the mysterious Geraldine. Her fascinating acting career started in Italy in the late 1960s, when Dublin was already in her early 50s, and she gained some recognition through a series of performances that highlighted her audaciously extravagant style to comedic effect, such as her role as Bud Spencer and Terence Hill’s mother in the western comedy <i>Trinity is Still My Name</i> (1971), as well as small roles in the gialli <i>So Sweet, So Dead</i> (1972) and <i>Sex of the Witch</i> (1973). She then relocated to Greece and continued her acting career there but was mostly relegated to mere cameo roles. Mastorakis was actually one of the few Greek directors to take full advantage of Dublin’s brash style and uninhibited nature – first with her sizeable turn in this film and then to maximum effect in the notorious <i>Island of Death</i>, in which the then 57-year old actress gets naked for the camera in the role of a rich, perverted maneater who enjoys getting pissed on during sex. And upon her return to the US, Dublin became a repertory player for Troma Entertainment – achieving much popularity for her role as Toxie’s mom in the two <i>Toxic Avenger</i> sequels in 1989. What a career! Now, her part in <i>Death Has Blue Eyes</i> is admittedly far more subdued than her more famous roles but it’s still great to have her around!
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<i>Maria Aliferi and Jessica Dublin are the high-points of the film</i>
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<i>The spectacular Jessica Dublin</i>
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To sum it up, <i>Death Has Blue Eyes</i> is a really weird film that sounded a lot more intriguing on paper than what it eventually turned out to be. Recommended to undiscriminating Euro-trash lovers only.
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Peter Winter as Bob Kowalski</i>
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<i>Hristos Nomikos as Ches Gilford</i>
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<i>Maria Aliferi as Christine Steinwetz</i>
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<i>Jessica Dublin as Geraldine Steinwetz</i>
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<i>??? as Debra</i>
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<i>Andreas Ioannou as Leader of the organization</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvBD4ksETYg9qt3cpmZOV1-qhE_F6o48Cc-0p1dM0ICJ6KUYqRfvdtT8lyF0gP-aN9GH-cwr3R-4T-f5im6Rin-fuRDklg9r6tvpo75Rxr7Dh0gOjbQ9PNby2hx9p0xx8UOIWK7Dl9DM/s1600/Blue+Eyes+-+Marie+Elise+Eugene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQvBD4ksETYg9qt3cpmZOV1-qhE_F6o48Cc-0p1dM0ICJ6KUYqRfvdtT8lyF0gP-aN9GH-cwr3R-4T-f5im6Rin-fuRDklg9r6tvpo75Rxr7Dh0gOjbQ9PNby2hx9p0xx8UOIWK7Dl9DM/s400/Blue+Eyes+-+Marie+Elise+Eugene.jpg" /></a></div>
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<i>Marie Elise Eugene as The race car driver</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjKVrBkW-ZAsCZpr2BGvrgnkBymAq-m4oMCrkjMMnrCCMAFN_LFWjHGL1jgZR41fGJ5Cd9JvpfAvtSiBr_XGbXJ652LaS793K8I0byRGJNGoxI9XUa0htvahKX_2PO6heObEKsKL8-to/s1600/Blue+Eyes+-+Fred+Kealing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjKVrBkW-ZAsCZpr2BGvrgnkBymAq-m4oMCrkjMMnrCCMAFN_LFWjHGL1jgZR41fGJ5Cd9JvpfAvtSiBr_XGbXJ652LaS793K8I0byRGJNGoxI9XUa0htvahKX_2PO6heObEKsKL8-to/s400/Blue+Eyes+-+Fred+Kealing.jpg" /></a></div>
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<i>??? as Fred Kealing</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNeXvh2vI9ACylEv_IJ1IjMdeaF1ATRwobyK1Ndwcx9MU9Bdq2rczGWyePQ_g18PVAZh4e6L4RWWU85Lk7CWo6fHk4Xan8S8h11kKVVSHkA_R_Dt3l6UyIuvH7R729DSC_ff-yQTzzzE/s1600/Blue+Eyes+-+Maria.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNeXvh2vI9ACylEv_IJ1IjMdeaF1ATRwobyK1Ndwcx9MU9Bdq2rczGWyePQ_g18PVAZh4e6L4RWWU85Lk7CWo6fHk4Xan8S8h11kKVVSHkA_R_Dt3l6UyIuvH7R729DSC_ff-yQTzzzE/s400/Blue+Eyes+-+Maria.jpg" /></a></div>
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<i>??? as Maria</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOk6RiTyr7FOlKCN95sZ0Z80NJktU5J1RaaE5wV5TrIsE0DkYGQZpGZJmnYDOl7f5NSroN7X1MS_fTOtOBfv7LTLBBa7QhmelXoI24Y4AM1NgCFnBxXRSCT9BgLY3qvjeGZGMJ4hsESI/s1600/Blue+Eyes+-+Clay+Huff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOk6RiTyr7FOlKCN95sZ0Z80NJktU5J1RaaE5wV5TrIsE0DkYGQZpGZJmnYDOl7f5NSroN7X1MS_fTOtOBfv7LTLBBa7QhmelXoI24Y4AM1NgCFnBxXRSCT9BgLY3qvjeGZGMJ4hsESI/s400/Blue+Eyes+-+Clay+Huff.jpg" /></a></div>
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<i>Clay Huff as The black assassin</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_v0Q4aIwXdI2IvqpCbk900FPmxGMrTguQmVj_2uZZP_Cq3OkCtbFuYmH-XcRmIchAa6n40Bx4003GAKJxfQLzm9EGoJCTfvKf5I-7bfPlbgVq70788ESznQ8rndhAH46h0X-gF9pWMqc/s1600/Blue+Eyes+-+Old+Bag.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_v0Q4aIwXdI2IvqpCbk900FPmxGMrTguQmVj_2uZZP_Cq3OkCtbFuYmH-XcRmIchAa6n40Bx4003GAKJxfQLzm9EGoJCTfvKf5I-7bfPlbgVq70788ESznQ8rndhAH46h0X-gF9pWMqc/s400/Blue+Eyes+-+Old+Bag.jpg" /></a></div>
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<i>??? as Ches’ lover</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-77645535585605278432015-01-11T11:55:00.001-08:002020-04-21T11:47:20.451-07:00The Skin Under the Claws/La pelle sotto gli artigli<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmZDi3Oy8TgSiHbT5anHp6-jl0LuLxOHJSwsKpYuLlHM1S2llCQBmxG6hWQ5c-pmrP_n7Ipb31kOIoUPC88yJp3uWwBn5d7NZziCb6J8_Ovd4q8VpOUzmWNMxaTXzeycoCYQN6wAHvrc/s1600/Skin+Under+The+Claws.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmZDi3Oy8TgSiHbT5anHp6-jl0LuLxOHJSwsKpYuLlHM1S2llCQBmxG6hWQ5c-pmrP_n7Ipb31kOIoUPC88yJp3uWwBn5d7NZziCb6J8_Ovd4q8VpOUzmWNMxaTXzeycoCYQN6wAHvrc/s400/Skin+Under+The+Claws.jpg"></a></div>
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<b>Italy, 1974
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Directed by Alessandro Santini
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Cast:
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Gordon Mitchell, Tino Boriani, Geneviève Audry, Ettore Ribotta, Mike Monty, Agostino De Simoni, Renzo Borelli, Mirella Rossi, Franco Rossi</b>
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Alessandro Santini is definitely one of the more obscure figures of Italian cult cinema – remembered primarily for a couple of collaborations with Italian cult movie great Renato Polselli and Polselli’s frequent partner-in-crime Bruno Vani. Santini debuted in 1971 with the trashy erotic drama <i>Questa libertà di avere... le ali bagnate</i> (translation: This Freedom to Have... Wet Wings), which he co-wrote with Polselli and which starred Mark Damon and Rita Calderoni. Next, he co-directed the satanic horror film <i>Una vergine per Satana</i> (A Virgin for Satan) together with Bruno Vani, but the film was never finished and some years later Polselli shot new scenes based around the old footage and released it as <i>Casa dell’amore... la polizia interviene</i> (House of Love... the Police Intervene) in 1978.
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Santini’s second stab at the horror genre was the film I’ll be reviewing here: the zero budget oddity <i>La pelle sotto gli artigli</i>, made in 1974 and given a limited release the following year before vanishing into complete obscurity. Years later, the presence of beloved B-movie actor Gordon Mitchell in the cast and the general trashiness of the piece led to renewed interest in the film, and it’s currently circulating among collectors in a scuzzy-looking print from a Spanish VHS with audio from an old Italian TV recording slapped on top of it. No English version was ever prepared and hence no official English title exists, but it’s currently going under the bootleg title of <i>The Skin Under the Claws</i> (a direct translation of its Italian title) so that’s what I’ll stick to.
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Late at night, a mysterious man picks up a young prostitute (Polselli regular Mirella Rossi) in a park. She willingly gets into his car and, as usual in these films, doesn’t seem to find it the least bit strange that the man is wearing a hat and sunglasses and that he is silently ignoring all of her questions. “Be nice! Let me see what color your eyes are and I’ll show you what color my panties are!” she purrs in a failed attempt to entice him into removing his sunglasses.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGgepY1HGA0NBissIA78mGTmx4_88mokwmZaRRiFaoKUAHflyGK757QgGgaEpPzcC5GeEHN3L0ZGfeNhNwBxpA_ujrXfSOHe5D0u3gzTsVbSvGqfItlh-aUNE3Hpuh1Xvif4m4hDgeEIQ/s1600/Skin+-+Hooker1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGgepY1HGA0NBissIA78mGTmx4_88mokwmZaRRiFaoKUAHflyGK757QgGgaEpPzcC5GeEHN3L0ZGfeNhNwBxpA_ujrXfSOHe5D0u3gzTsVbSvGqfItlh-aUNE3Hpuh1Xvif4m4hDgeEIQ/s400/Skin+-+Hooker1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2z6TUKDIh5VB2Dy-qkv0cV0C5asOM_-r3DdB88M6uFrh3xLNkB5ClNZAzA1zLZND4XzHezd9TBmxU_1LDW0dgD9aCL0Ap4jOy5LRnPiHUeV1X4nomjIoH0jiy3wIZalFgos_-7zNzSo/s1600/Skin+-+Hooker2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2z6TUKDIh5VB2Dy-qkv0cV0C5asOM_-r3DdB88M6uFrh3xLNkB5ClNZAzA1zLZND4XzHezd9TBmxU_1LDW0dgD9aCL0Ap4jOy5LRnPiHUeV1X4nomjIoH0jiy3wIZalFgos_-7zNzSo/s400/Skin+-+Hooker2.jpg"></a></div>
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<i>Btw, what IS the color of her panties? Pink?? You can’t really tell from this poor-looking version</i>
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The man brings the hooker back to his place, and naturally, it doesn’t take long before the poor girl is brutally stabbed to death and her lifeless body is unceremoniously dumped near a fountain.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdIjg_9NQMfjdjOCxtcpdNH1Go89h7aAp6P15jMZTMHKC9u0J4bvhmEoYSMKcyNNg5PZmQwhbW_DfyroIxuS7l2o1uFO_EvnMp3HoFFzF7WRe8yFtOJVsKTQsAEg_JgZPWPIE4jjN0qQ/s1600/Skin+-+Murder1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdIjg_9NQMfjdjOCxtcpdNH1Go89h7aAp6P15jMZTMHKC9u0J4bvhmEoYSMKcyNNg5PZmQwhbW_DfyroIxuS7l2o1uFO_EvnMp3HoFFzF7WRe8yFtOJVsKTQsAEg_JgZPWPIE4jjN0qQ/s400/Skin+-+Murder1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrrKsHvguxFXyhlVO_OKcvdEEqztHhABfgDZOkyVISwzKDQU5kP9iNdQ4z0cRO8-kbDIoN1SOuXVJHZ8s6aSd2c4lSHFMw6v_vXkwbxVHfxgclDcesijBFy9MFkx1AWVAN5nMNYckf26o/s1600/Skin+-+Murder2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrrKsHvguxFXyhlVO_OKcvdEEqztHhABfgDZOkyVISwzKDQU5kP9iNdQ4z0cRO8-kbDIoN1SOuXVJHZ8s6aSd2c4lSHFMw6v_vXkwbxVHfxgclDcesijBFy9MFkx1AWVAN5nMNYckf26o/s400/Skin+-+Murder2.jpg"></a></div>
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<i>The first victim</i>
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The hot-tempered, chain-smoking Commissioner Rinaldi (Ettore Ribotta) is in charge of the investigation and he is left dumbfounded when the medical examiner (played uncredited by trash movie extraordinaire Mike Monty) reveals that traces of heavily decomposed skin have been discovered under the dead girl’s fingernails. The cranky commissioner won’t hear of such nonsense: “I can’t believe a putrefied corpse visits prostitutes and then kills them!” he growls. But before long, another young woman is found dead – hacked into pieces and stuffed into two heavy suitcases – and others follow in quick succession, and they all have traces of decomposed skin under their fingernails.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9uDTSIzEZeMTqAqKg4Hw5uw-ZoOUliPeZDwo1K9qIrckVzHQe0yJ_qryBT9JowhJmPA41P9fava6ZfLGUfbNLPw5dEKofEPTR-XNlGMQkQx2Z_R2vQJQpJBQTKlMjKsdAupWRDv0YTKI/s1600/Skin+-+Commissioner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9uDTSIzEZeMTqAqKg4Hw5uw-ZoOUliPeZDwo1K9qIrckVzHQe0yJ_qryBT9JowhJmPA41P9fava6ZfLGUfbNLPw5dEKofEPTR-XNlGMQkQx2Z_R2vQJQpJBQTKlMjKsdAupWRDv0YTKI/s400/Skin+-+Commissioner.jpg"></a></div>
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<i>Commissioner Rinaldi is on the case...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJZAqEsXYanWnKSBpp92Lryp7kx7tInDDxdtFbDnKGQ1gwKbb-HwnGIRdqZoAzs1gf9eIRsHbOJXNCb3_jGH0oTuDKkUKcu7-MnCXj4zOcaiZ2ADlx_4jdFHw_xXj0gegATcRC-GKts4/s1600/Skin+-+Victim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJZAqEsXYanWnKSBpp92Lryp7kx7tInDDxdtFbDnKGQ1gwKbb-HwnGIRdqZoAzs1gf9eIRsHbOJXNCb3_jGH0oTuDKkUKcu7-MnCXj4zOcaiZ2ADlx_4jdFHw_xXj0gegATcRC-GKts4/s400/Skin+-+Victim.jpg"></a></div>
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<i>...and he’s not too convinced about the medical examiner’s findings</i>
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In the meantime, we follow a separate plotline involving Professor Ernest Helmut (B-movie legend Gordon Mitchell), a brilliant scientist who’s conducting strange experiments in his private clinic. After a series of brain transplant experiments on baboons, Professor Helmut believes he has finally found a way to beat death itself and ensure eternal life. His handsome assistant, Dr. Gianni Dani (photo-novel star Tino Boriani), is awestruck by the professor’s findings and marvels at the thought of how this could revolutionize science. But Helmut’s other assistant, the rather frumpy Dr. Silvia Pieri (Geneviève Audry), is appalled by the idea of tampering with the natural cycle of life. “When we travel on a crowded train, we don’t want anyone to get on. In fact, we’d like people to get off. Life is a miracle, but so is death”, she argues.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHKRgEOAQhLjMEkWS1AnEw0znBMk_Kc5Ljj7rFC0x8DBWm516euzs83GgNP2kl0gwDmujR9GKV6W7Xzd5wy50BYWpZ5lfA20hIhGYaQZdT_WeybyYf7R9RK6XSERRoN7eXYxm3v4_GKI/s1600/Skin+-+Professor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHKRgEOAQhLjMEkWS1AnEw0znBMk_Kc5Ljj7rFC0x8DBWm516euzs83GgNP2kl0gwDmujR9GKV6W7Xzd5wy50BYWpZ5lfA20hIhGYaQZdT_WeybyYf7R9RK6XSERRoN7eXYxm3v4_GKI/s400/Skin+-+Professor.jpg"></a></div>
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<i>The brilliant Professor Helmut...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsVSgvQhUyDbonVjaYaeySTb680hi9EVdxVxt_sCfp8w3kxbLDAuEJPXUB9TvA5xtZPqo7k48heMt_N1nQSaUfU1HledwIrpcPPDOjTAcFmsoqAnVnBDmjjdIHOk71bf-AP9mbSBSHG4/s1600/Skin+-+Surgery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsVSgvQhUyDbonVjaYaeySTb680hi9EVdxVxt_sCfp8w3kxbLDAuEJPXUB9TvA5xtZPqo7k48heMt_N1nQSaUfU1HledwIrpcPPDOjTAcFmsoqAnVnBDmjjdIHOk71bf-AP9mbSBSHG4/s400/Skin+-+Surgery.jpg"></a></div>
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<i>...and his strange research</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlgOSJO5bykNblG1TrajRWlXr-7w9G9fD23SVbOy2Qzij0hhw82qQMHNIMB5xVTMHaXgzmecRXa-s0ovuK4a00EjKzSoDzdYz6N-amiLgzGa52GAbpAYVi32NA3cNTFvI9Z8cJfx4mlms/s1600/Skin+-+Silvia+Gianni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlgOSJO5bykNblG1TrajRWlXr-7w9G9fD23SVbOy2Qzij0hhw82qQMHNIMB5xVTMHaXgzmecRXa-s0ovuK4a00EjKzSoDzdYz6N-amiLgzGa52GAbpAYVi32NA3cNTFvI9Z8cJfx4mlms/s400/Skin+-+Silvia+Gianni.jpg"></a></div>
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<i>Silvia and Gianni</i>
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Shortly afterwards, Silvia and Gianni are shocked to discover that Professor Helmut has died of a sudden heart attack. And what’s worse is that someone has stolen his corpse! Gee, I wonder if the professor’s bizarre experiments and his sudden death and disappearance could somehow be connected to the murdered women with decomposed skin found under their fingernails?
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From the plot description alone, this bizarre mad doctor movie with giallo tendencies may sound like a grandiose Euro-trash classic but, unfortunately, it’s nowhere near as cool as it sounds. Much of the blame rests on writer-director Santini’s inept screenplay, which is crammed with preposterous nonsense and hysterically silly dialogue from beginning to end. And, at just 76 minutes, it still manages to be badly paced due to a series of padding scenes featuring minor characters. A good example of this is the scene in which Gianni and Silvia visit an eccentric painter friend of hers. The painter has two buck naked models who pose for him on the sofa, even though the painting he’s making is of something else entirely! It’s a completely irrelevant sequence that has no bearing on the rest of the film (said painter is never seen or heard from again) and a perfect example of the film’s thoroughly haphazard construction.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQn6kd-gFKU5lv7EyvC_3U3cIhKl9TkV_R243OwsRO2F5mj110sLY9OjbPtwdqEGrxm-xDyuYrviZQVC9osL94_siqM86oBgZevoZKdb5KP55_jwBZWEwv4vIBAJ5k42grIf6FUCQne_Q/s1600/Skin+-+Models.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQn6kd-gFKU5lv7EyvC_3U3cIhKl9TkV_R243OwsRO2F5mj110sLY9OjbPtwdqEGrxm-xDyuYrviZQVC9osL94_siqM86oBgZevoZKdb5KP55_jwBZWEwv4vIBAJ5k42grIf6FUCQne_Q/s400/Skin+-+Models.jpg"></a></div>
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<i>The painter’s “models”...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJDiYGPKf4g-bgkg0TFMpqp58cCnpK_QDbg95HB9szlRTYqzmzX36W-EAlh4_8apVjHd6hIdVNRCtJ6MVvyLSMCHgLiHLjglDhq-jaDNymTMnsbeqE0gK-zBD0kOHVXUuBkUUuXFRiGI/s1600/Skin+-+Painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJDiYGPKf4g-bgkg0TFMpqp58cCnpK_QDbg95HB9szlRTYqzmzX36W-EAlh4_8apVjHd6hIdVNRCtJ6MVvyLSMCHgLiHLjglDhq-jaDNymTMnsbeqE0gK-zBD0kOHVXUuBkUUuXFRiGI/s400/Skin+-+Painting.jpg"></a></div>
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<i>...and what he's actually painting</i>
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<i>I love how the bored-looking models just continue to sit lazily in the sofa reading their magazines and not bothering to get dressed when visitors arrive</i>
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Also not helping matters is the fact that Santini insists on treating the whole thing as some big mystery and trying to throw some suspicion on the Gianni character, even though for anyone with a smidgen of genre knowledge, a mere cursory glance at the cast list will be sufficient to figure out who the real madman at large is.
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In keeping with his screenwriting skills, Santini’s direction is thoroughly incompetent. Since the only available versions of the film are rather poor-looking TV and VHS prints, it is impossible to properly evaluate its aesthetical qualities, but it’s not hard to see that this was made on a virtually non-existent budget. The whole thing is shot in a very unimaginative point-and-shoot style in what I can only assume were the cast or crew’s private homes – adorned with some truly hideous-looking 1970s wallpaper – and then patchily edited together.
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<i>A couple of examples of the ghastly décor and wallpaper on display</i>
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The all-around cheapness also means that all of the killings take place off-screen as there clearly wasn’t enough money for special effects. There’s a lot of talk about gruesomely mutilated corpses, but we never actually get to see any of them except when covered by white sheets. Probably sensing that this approach would be off-putting to sleaze hounds (who, let’s face it, are the core audience for such films), Santini tries to make up for it by piling on a lot of senseless nudity, which is executed with the same level of incompetence.
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<i>The closest we get to seeing the mangled corpses</i>
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<i>Some scattered attempts to liven up the proceedings</i>
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But while <i>The Skin Under the Claws</i> may be a terrible film, that’s not to say that it’s completely without its charms. As long as you’re in the right frame of mind, there is some great fun to be had with its endearingly inept direction, trashy atmosphere and above all its loopy writing. The script boasts numerous WTF moments – including the killer’s out of the blue attack on three peasant girls, and a really ludicrous twist ending – and the dialogue is ripe with hysterical one-liners.
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But arguably the most memorable part of the film is a scene in a nightclub where a miserable-looking black woman (who <i>must</i> have been chugging down a heavy brew of sedatives and J&B before going on stage) performs a hilariously unenthusiastic naked tribal dance that is completely out of tune with the inappropriate band music. There are only four patrons in the audience (I guess the budget didn’t allow for extras either) and they all look as though they’re about to fall asleep. A priceless moment!
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<i>The film’s pitiful nightclub act...</i>
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<i>...and the miserable-looking spectators</i>
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Poor Gordon Mitchell! He was a solid lead in Italian sword and sandal films in the early 1960s, but whereas most of his peers (including Steve Reeves, Gordon Scott and Mark Forest) retired when the popularity of such films started to wane, Mitchell persistently kept on working, and the 1970s saw him really scraping the bottom with appearances in such grade Z nonsense as <i>Frankenstein 80</i> (1972), <i>Frankenstein’s Castle of Freaks</i> (1974), <i>Achtung! The Desert Tigers</i> (1976), <i>Holocaust 2: The Memories, Delirium and the Vendetta Part Two</i> (1978) and <i>Black Gold Dossier</i> (1979). But even with such tough competiton, <i>The Skin Under the Claws</i> still ranks as one of Mitchell’s absolute worst films from the period. He doesn’t really have a whole lot to do here but it’s always nice to have him around and he does add a certain cult appeal to the film. Another welcome addition is Mike Monty – probably best known for his appearances in a series of cheap Filipino-lensed jungle adventures by Antonio Margheriti and Bruno Mattei – as the bespectacled medical examiner, though he sadly never gets to interact with Mitchell. Polselli starlet Mirella Rossi is thoroughly wasted as the hooker killed at the start of the film – with Santini barely allowing us a good look at her face – but there’s a pretty good role for Ettore Ribotta (a prolific character actor in the photo-novels published by Lancio and Grand Hotel) as the amusingly grumpy commissioner.
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<i>Gordon Mitchell hams it up in typically enjoyable Mitchell-fashion</i>
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If you get a kick out of watching ridiculous and hastily slapped together zero budget, grade Z Euro-horror then you really need to seek out <i>The Skin Under the Claws</i>. Everyone else, however, is better off seeking out something else.
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Gordon Mitchell as Professor Ernest Helmut</i>
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<i>Tino Boriani as Dr. Gianni Dani</i>
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<i>Geneviève Audry as Dr. Silvia Pieri</i>
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<i>Ettore Ribotta as Commissioner Rinaldi</i>
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<i>Mike Monty as The medical examiner</i>
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<i>??? as Brigadier Tacconi</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaZKQuE7jmXREjFVaYpWDSR2y108mVmiLx8YQmSwzUVAD6uK21ohAiJf397CP_xHp5HdYUdSblzEzLZjMf34FWwuPGfuu47_A3NHj_GjwMfPH_8iX737gJO9D6tBVI2q4g6zaYTzDRYNc/s1600/Skin+-+Renzo+Borelli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaZKQuE7jmXREjFVaYpWDSR2y108mVmiLx8YQmSwzUVAD6uK21ohAiJf397CP_xHp5HdYUdSblzEzLZjMf34FWwuPGfuu47_A3NHj_GjwMfPH_8iX737gJO9D6tBVI2q4g6zaYTzDRYNc/s400/Skin+-+Renzo+Borelli.jpg"></a></div>
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<i>Renzo Borelli as The porter</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgffRcEoHICt55g56qi8V8MV4z9efTwqKrlvZXecsgN5xbA1l3-aw-2UilAt7-wgtWuaDWhmBZvBVQcMYeUPJh8l3VcpIXgpU2XvEpgUtOitxR1MYnVLKcpbGuYjWMkJZynOEaPCgqI0Zk/s1600/Skin+-+Cinzia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgffRcEoHICt55g56qi8V8MV4z9efTwqKrlvZXecsgN5xbA1l3-aw-2UilAt7-wgtWuaDWhmBZvBVQcMYeUPJh8l3VcpIXgpU2XvEpgUtOitxR1MYnVLKcpbGuYjWMkJZynOEaPCgqI0Zk/s400/Skin+-+Cinzia.jpg"></a></div>
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<i>??? as Cinzia, the nymphomaniac</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilHXbfgFqwoGT5o0CpW5Z9CC9cRu3-z2ffrYB2cnLnwSo2e3PtbBYiLfnTk6mkGTS106G_rHXwtc6NAsoKWLBqRVf6TBnjszbDKVDQcJFCjC4c6SgipQuwp_LkJPWbAD_M8a-uFMEo-iQ/s1600/Skin+-+Barbara.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilHXbfgFqwoGT5o0CpW5Z9CC9cRu3-z2ffrYB2cnLnwSo2e3PtbBYiLfnTk6mkGTS106G_rHXwtc6NAsoKWLBqRVf6TBnjszbDKVDQcJFCjC4c6SgipQuwp_LkJPWbAD_M8a-uFMEo-iQ/s400/Skin+-+Barbara.jpg"></a></div>
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<i>??? as Barbara, Cinzia’s roommate</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4-hvh3CyG_F8kNiH5vt6Ym88N6uw8hm5RfKhXTpll4YdYWy7ahPAuK2D3rIksMO6M0G0t6GrSDOTh-ug5OxOPD5bY8VwfVzA-oCQvEd-vvi9ylGPLP4zeB_YThLSWUDDaddyQ4-xk9bU/s1600/Skin+-+Maurizio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4-hvh3CyG_F8kNiH5vt6Ym88N6uw8hm5RfKhXTpll4YdYWy7ahPAuK2D3rIksMO6M0G0t6GrSDOTh-ug5OxOPD5bY8VwfVzA-oCQvEd-vvi9ylGPLP4zeB_YThLSWUDDaddyQ4-xk9bU/s400/Skin+-+Maurizio.jpg"></a></div>
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<i>??? as Maurizio, Barbara’s boyfriend</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilrt6iACwAJC7KLLm4YAjZ6vvbxyhoCZK02pY_6_WGbpjmC-dceWxHYRLlt2wr1wDafAQ4KRbp4xw_XXt7x82rB3JcRyG13CaRfnEj1Jh43wV2zMzJHZliClB7fqW7jeYkry-BQMP9VsU/s1600/Skin+-+Goffredo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilrt6iACwAJC7KLLm4YAjZ6vvbxyhoCZK02pY_6_WGbpjmC-dceWxHYRLlt2wr1wDafAQ4KRbp4xw_XXt7x82rB3JcRyG13CaRfnEj1Jh43wV2zMzJHZliClB7fqW7jeYkry-BQMP9VsU/s400/Skin+-+Goffredo.jpg"></a></div>
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<i>??? as Goffredo, the painter</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjaby8eYPX8dXMdChUra35U4x88za1v-MflEqI5-pJt8LP7bgWk864YxHx2Um8KlQeKNEnD9eNFz2IVunNTgiYsTZzmnZ_xx1WxHxSlOfHFou0_Ap2spC3whKdXs7X1tkkyX6D9qrglBk/s1600/Skin+-+Mirella+Rossi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjaby8eYPX8dXMdChUra35U4x88za1v-MflEqI5-pJt8LP7bgWk864YxHx2Um8KlQeKNEnD9eNFz2IVunNTgiYsTZzmnZ_xx1WxHxSlOfHFou0_Ap2spC3whKdXs7X1tkkyX6D9qrglBk/s400/Skin+-+Mirella+Rossi.jpg"></a></div>
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<i>Mirella Rossi as The prostitute</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-69364706079576860082015-01-09T12:37:00.000-08:002015-08-02T12:58:06.940-07:00Planet of the Vampires/Terrore nello spazio<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnVPF5T4-6Bzm_50i1pOZ5Z60dSdlBQvPM0NUFLxkJz2g-T1_ze-H0OEWPIxo9H2UbpJYJ8o4WAh-FEaqks_kvCu75e8okcCtCr_tkWZMiWH3fReXiTGDmfTkYm6-K3AMybYjs4DFEkM/s1600/Planet+of+the+Vampires.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnVPF5T4-6Bzm_50i1pOZ5Z60dSdlBQvPM0NUFLxkJz2g-T1_ze-H0OEWPIxo9H2UbpJYJ8o4WAh-FEaqks_kvCu75e8okcCtCr_tkWZMiWH3fReXiTGDmfTkYm6-K3AMybYjs4DFEkM/s400/Planet+of+the+Vampires.jpg" /></a></div>
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<b>Italy/US/Spain, 1965
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Directed by Mario Bava
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Cast:
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Barry Sullivan, Norma Bengell, Angel Aranda, Evi Marandi, Fernando Villena, Stelio Candelli, Franco Andrei, Ivan Rassimov, Massimo Righi, Rick Boyd, Alberto Cevenini, Mario Morales, Peter Martell</b>
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Italian science fiction films from the 1960s have become practically synonymous with Antonio Margheriti and his many colorful, lighthearted and goofily enjoyable space adventures. But made during the same period was Mario Bava’s <i>Planet of the Vampires</i>, which unlike Margheriti’s efforts is rather serious in tone and carves out a distinct identity for itself by mixing the science fiction plot with full-blown scenes of horror and grue.
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The plot follows the crew of a high-tech spaceship named the Argos, which is picking up strange radio signals from a mysterious, fog-enshrouded and seemingly uninhabited planet. Suspecting that the planet must contain some form of life, the crew decides to take a closer look but as soon as they are nearing the planet, the radio communication is blocked and a massive gravitational pull forces the spaceship down. Everyone passes out except the ship’s captain Mark Markary (Barry Sullivan), who heroically manages to keep it together and ensure a safe crash landing for the Argos.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSQTWrtxB4MKv3WQU68r-y6B4mDPBZ9GVfS2uZCG61Np0qOQJ_4xIEjOGjw-8WgQgs7iVmgV-24HSNAqZ3CnTRbSjbNmpu2nG5Yo445xlHt3Ui_PlvjymG2-qPtOcAcnlORh2TCpLn0U/s1600/Vampires+-+Signal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSQTWrtxB4MKv3WQU68r-y6B4mDPBZ9GVfS2uZCG61Np0qOQJ_4xIEjOGjw-8WgQgs7iVmgV-24HSNAqZ3CnTRbSjbNmpu2nG5Yo445xlHt3Ui_PlvjymG2-qPtOcAcnlORh2TCpLn0U/s400/Vampires+-+Signal.jpg" /></a></div>
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<i>The crew of the Argos pick up strange radio signals</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxnqa9_20MXOsfILFra5miJf7Q4sZqxmRgcjF95uzjiiPTZss-I849-ieLzDjA99hUSkPt_EsEBQoZvboxT4ZMr-YqISsaoxkiCH7j6Bf3jOZvmv6pU-GuGHeZc0ueDXWd9tJljlWAIo/s1600/Vampires+-+Fainting1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNxnqa9_20MXOsfILFra5miJf7Q4sZqxmRgcjF95uzjiiPTZss-I849-ieLzDjA99hUSkPt_EsEBQoZvboxT4ZMr-YqISsaoxkiCH7j6Bf3jOZvmv6pU-GuGHeZc0ueDXWd9tJljlWAIo/s400/Vampires+-+Fainting1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQQPOii6eU_-PX7JBi7fWVUTpO_N3wsjzqotY3NFB_dTPk0owYBp_lawpMUl1bbB3YNajp3unGFodLGiRMH5LAkZBzzUSn-EmFNibF9DaKcn9SME9-uswaCaQ90KC23D6WQRVtQcnHbk/s1600/Vampires+-+Fainting2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQQPOii6eU_-PX7JBi7fWVUTpO_N3wsjzqotY3NFB_dTPk0owYBp_lawpMUl1bbB3YNajp3unGFodLGiRMH5LAkZBzzUSn-EmFNibF9DaKcn9SME9-uswaCaQ90KC23D6WQRVtQcnHbk/s400/Vampires+-+Fainting2.jpg" /></a></div>
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<i>The sudden gravitational pull knocks out most of the astronauts...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhds2diR_TL0Aj4JlTA8vqjRf3dNc-mCUqht658lwrtbwyYfsnhcni_p8JZzZcsIQep3GThRhMVtHD_EYOb6VGGiREjvj5JeiuKps3EyNWG3EpPxbNgsCDCxWL6Ok5i8HL1sw2unLmScx4/s1600/Vampires+-+Landing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhds2diR_TL0Aj4JlTA8vqjRf3dNc-mCUqht658lwrtbwyYfsnhcni_p8JZzZcsIQep3GThRhMVtHD_EYOb6VGGiREjvj5JeiuKps3EyNWG3EpPxbNgsCDCxWL6Ok5i8HL1sw2unLmScx4/s400/Vampires+-+Landing.jpg" /></a></div>
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<i>...and forces the Argos to crash land on the mysterious alien planet</i>
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Once the various team members start to regain consciousness, they appear to be possessed and start violently attacking each other. Only Captain Markary and a few others remain unaffected and are able to overpower the possessed crewmen until they snap out of it with no memory of their strange behavior.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_s9EDRGfg_FbyvxH7uvG9q1ZASq007Jbvkl8OsmuioIw0f1Bi6gSpQvy5hijlL9Joc9ODbUkvX9tvHepsyiasxjuN6K2fYMvcZDUkbSRgK6TcjdJSzpqthlpsi29WkGR7ksxYxDgQZ2Q/s1600/Vampires+-+Possessed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_s9EDRGfg_FbyvxH7uvG9q1ZASq007Jbvkl8OsmuioIw0f1Bi6gSpQvy5hijlL9Joc9ODbUkvX9tvHepsyiasxjuN6K2fYMvcZDUkbSRgK6TcjdJSzpqthlpsi29WkGR7ksxYxDgQZ2Q/s400/Vampires+-+Possessed.jpg" /></a></div>
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<i>The crewmen inexplicably turn on each other</i>
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Captain Markary and fiery-haired communications officer Sanya (Norma Bengell) lead the rest of the Argos crew over to their sister ship, the Galliot, which has crash landed on the same planet, and discover to their horror that the entire crew of the Galliot (among them Captain Markary’s little brother Toby) are dead – having savagely killed each other. They bury three of the dead crewmen but the rest of the mutilated corpses are located inside a sealed control room – making it necessary for Markary and his men to return to the Argos to fetch the necessary equipment to break the door open. By the time they return, however, all of the bodies have mysteriously vanished.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglm41MYiUtOSkk_1SePCCcTIpgxqcpfpZ23BI9NvarKNaJYXspK1HjaqQFNx9n5I3_2_QYliHTOCteOylaOFqlOY7o6nWKyZRj-_WaRoYSR7jncn3Ma0LRvpDCzByMl3sZM8I02sYhPCE/s1600/Vampires+-+Crew.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglm41MYiUtOSkk_1SePCCcTIpgxqcpfpZ23BI9NvarKNaJYXspK1HjaqQFNx9n5I3_2_QYliHTOCteOylaOFqlOY7o6nWKyZRj-_WaRoYSR7jncn3Ma0LRvpDCzByMl3sZM8I02sYhPCE/s400/Vampires+-+Crew.jpg" /></a></div>
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<i>Captain Markary and the others begin to explore the sinister planet...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFPO04acznBFNM2G8XmecuSIckz2IIoq9hzc8let41f7bdHXL7vhscD1TesFJGQbRnFWdzGoSWWoW2mRqBr_cCOWMF46IS18i7ZC9aNPhOUbD2bZthKIwXael0uJPD4yWFZ6xL3f8vfCQ/s1600/Vampires+-+Dead+Crewmen1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFPO04acznBFNM2G8XmecuSIckz2IIoq9hzc8let41f7bdHXL7vhscD1TesFJGQbRnFWdzGoSWWoW2mRqBr_cCOWMF46IS18i7ZC9aNPhOUbD2bZthKIwXael0uJPD4yWFZ6xL3f8vfCQ/s400/Vampires+-+Dead+Crewmen1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtaGMKB936hBHW1hizz8Td8NT3uXcfoSHmzFZhqpUXxrTzdksjBLP87fF4iPsv_Z3I0UMUg8FmZzpfUUw1qoeHq2EcMhuyN68tYB6HOo6kvJr1eSN6Tuidm3-hh94tY9A0ZIFNKE946NQ/s1600/Vampires+-+Dead+Crewmen2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtaGMKB936hBHW1hizz8Td8NT3uXcfoSHmzFZhqpUXxrTzdksjBLP87fF4iPsv_Z3I0UMUg8FmZzpfUUw1qoeHq2EcMhuyN68tYB6HOo6kvJr1eSN6Tuidm3-hh94tY9A0ZIFNKE946NQ/s400/Vampires+-+Dead+Crewmen2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHPJf7Lf_M-Gb7VPUZmHiNyW27waWVDnFusfyb5RKgp-7RyFH4wzprUlZPGU0XH2aK4TrSt0lr0m8koiFwV2lqqqSHFCledWDOFC_mM-749JzyzDTE-uwPRJ2JnXzBYTsiyFyL3oPbils/s1600/Vampires+-+Dead+Crewmen3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHPJf7Lf_M-Gb7VPUZmHiNyW27waWVDnFusfyb5RKgp-7RyFH4wzprUlZPGU0XH2aK4TrSt0lr0m8koiFwV2lqqqSHFCledWDOFC_mM-749JzyzDTE-uwPRJ2JnXzBYTsiyFyL3oPbils/s400/Vampires+-+Dead+Crewmen3.jpg" /></a></div>
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<i>...and find the crew of their sister ship savagely murdered</i>
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Shortly afterwards, things turn even more sinister as the Argos crew members start vanishing or turning up dead. Even though no signs of life can be found anywhere on the barren and sinister planet, it’s clear to everyone that they are in great danger, but with the spaceship damaged from the crash landing, they have no way of leaving. Chief engineer Wess (Angel Aranda) tries his best to fix the ship’s broken engines but in the meanwhile things take a turn for the worse as the dead crewmen start to rise from their graves – their bodies having been taken over by malevolent alien forces who intend to use them as vessels to escape from their own desolate planet...
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjZkQTFlV0HBWWzrCNXCsigWm-W-LD0g6XSFNo0OxMLUbFw2CQNfj87Ji7Vp7nyP5HTpddd6EmDaCc27cZNIGmvmCL-7S4c12q3GoJmT5xJADYkrnQR-Z5R0oobon5HuHrz5LVhAMgj5s/s1600/Vampires+-+Death.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjZkQTFlV0HBWWzrCNXCsigWm-W-LD0g6XSFNo0OxMLUbFw2CQNfj87Ji7Vp7nyP5HTpddd6EmDaCc27cZNIGmvmCL-7S4c12q3GoJmT5xJADYkrnQR-Z5R0oobon5HuHrz5LVhAMgj5s/s400/Vampires+-+Death.jpg" /></a></div>
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<i>It’s bad enough that the astronauts from the Argos start turning up dead...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsZ1ptP5bt-sfroAcYeONv3rapUj0PPUy4HKn1mPxuLU3TUWANcvac2gvuwTlB0H72_yV9Wq75_1BbIj6oq55rlrNLKIL7F_wV5MUSviv6dNwIHGH2fPjCaZ4RuFMXbVh36NbMN_qQfos/s1600/Vampires+-+Back+From+The+Dead1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsZ1ptP5bt-sfroAcYeONv3rapUj0PPUy4HKn1mPxuLU3TUWANcvac2gvuwTlB0H72_yV9Wq75_1BbIj6oq55rlrNLKIL7F_wV5MUSviv6dNwIHGH2fPjCaZ4RuFMXbVh36NbMN_qQfos/s400/Vampires+-+Back+From+The+Dead1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdcKKyS-ywuI7wksvKebytkViBn0DtojkNMvCAczz5nVSyYSpyKt1hbq2WtH5odTJ79mfep2Vp7jdesGFeiNFmikyKoXVzpuJIUZgQ4V1DR2L3cFFIvxO8wWDYK41OaERrbyMEVQRA5A/s1600/Vampires+-+Back+From+The+Dead3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIdcKKyS-ywuI7wksvKebytkViBn0DtojkNMvCAczz5nVSyYSpyKt1hbq2WtH5odTJ79mfep2Vp7jdesGFeiNFmikyKoXVzpuJIUZgQ4V1DR2L3cFFIvxO8wWDYK41OaERrbyMEVQRA5A/s400/Vampires+-+Back+From+The+Dead3.jpg" /></a></div>
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<i>...but it gets much worse when the dead start coming back to life</i>
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Famous American B-movie company AIP (American International Pictures) achieved great success when they purchased the rights for Mario Bava’s gothic horror film <i>The Mask of Satan</i> (1960) and released it in the US in a slightly modified version as <i>Black Sunday</i>. This led to AIP deciding to co-produce a series of Italian films in order to excise more control over their content, and <i>Planet of the Vampires</i> was one of these numerous co-productions. But in spite of co-financing from Italy and Spain as well as the US, Bava was given a practically non-existent budget to work with. According to Bava scholar Tim Lucas, the exterior scenes for the planet were shot on a practically empty sound stage furnished with only two plastic rocks left over from a peplum film. For anyone who has seen <i>Planet of the Vampires</i> it is almost impossible to believe that this can be true since the colorful and richly atmospheric scenes displaying the planet’s landscape are among the most memorable imagery in the film. However, the vast planetary landscape was actually nothing more than a spectacular illusion created by Bava through the use old school camera tricks. He multiplied the two plastic rocks through the use of mirrors and multiple exposures, employed miniature models which were made to appear larger through the use of forced perspective camera setups, and filled the set with smoke in order to cover up the emptiness of the sound stage. And the results are truly amazing. The barren alien-landscape enshrouded in glowing, psychedelic colors and a swirling, never-ending fog is a feast for the eyes, and accompanied by Gino Marinuzzi Jr.’s wonderfully creepy musical score, it creates an unforgettably eerie atmosphere.
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<i>Bava’s stunning alien landscape</i>
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Admittedly, the film still has the look and feel of a low-budget movie, and its lack of resources is particularly visible in the very modestly decorated Argos interiors, or the unconvincing miniatures shots of the spaceship, but in the end this is of little consequence. When you take into account just how preciously little Bava actually had to work with here, the look of the film is just stunningly impressive and <i>Planet of the Vampires</i> stands as perhaps the ultimate showcase for Bava’s terrific technical creativity and ability to transcend the limitations of the most meager of resources.
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The most memorable imagery from the film is the striking scene in which the dead crewmen rise from their graves in slow motion and tear through the clear plastic they’re wrapped in. It’s a breathtaking sequence that manages to be stunning to look at and genuinely creepy at the same time.
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<i>The scene with the dead rising from their graves is the film’s crowning achievement</i>
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Still, the most famous sequence in the film is the one in which Sanya and Captain Markary explore the ruins of an alien spacecraft and stumble upon the giant skeletal remains of the long-dead alien crew. As most reviewers have made a big point of, Ridley Scott’s <i>Alien</i> (1979) contains a remarkably similar sequence in which the exploration of a derelict alien spaceship leads to the discovery the skeletal remains of a large alien creature. It has been widely reported that both Ridley Scott and <i>Alien</i> screenwriter Dan O’Bannon denied having ever seen <i>Planet of the Vampires</i> but when <b><a href="http://www.tested.com/art/movies/458897-dan-obannon-and-origins-alien/">interviewed</a></b> by David Konow, O’Bannon did indeed admit to having been inspired by Bava’s film:
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“<i>I was aware of Planet of the Vampires, I don’t think I had seen it all the way through. I had seen clips from it and it struck me as evocative. It had the curious mixture that you get in these Italian films of spectacularly good production design with an aggressively low budget mentality</i>.”
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<i>Sanya and Captain Markary enter an alien spaceship...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8VAJomHPp5PBgg0Dd3ZGVY_b8eJjBILMF3o-E5CMVa_1bX0GvPlISC9GKsmSvlV6ybU-sz3yTxeESQvghc5Ri62RqfIjcIiDXpPvkMxfFSMbqIjkJAz18LqiTCNKGSZPiZhfe0P7rMI/s1600/Vampires+-+Skeleton2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB8VAJomHPp5PBgg0Dd3ZGVY_b8eJjBILMF3o-E5CMVa_1bX0GvPlISC9GKsmSvlV6ybU-sz3yTxeESQvghc5Ri62RqfIjcIiDXpPvkMxfFSMbqIjkJAz18LqiTCNKGSZPiZhfe0P7rMI/s400/Vampires+-+Skeleton2.jpg" /></a></div>
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<i>...and, in what has become the film’s most celebrated sequence, they discover the huge skeletal remains of the alien crew</i>
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It’s great to hear O’Bannon pay proper respect to Bava’s film, but with that said, I don’t really want to focus too much on the film’s influence on <i>Alien</i>, which has already been covered extensively in pretty much every review of <i>Planet of the Vampires</i> – with some reviewers going a bit overboard in their attempts to portray the film as a veritable blueprint for <i>Alien</i>. The influence is definitely there but in fairness the tone and feel of the two films are radically different. In spite of its impressive designs and special effects, <i>Alien</i> is above all a terrifically thrilling and nail-biting suspense film, whereas <i>Planet of the Vampires</i> is more a triumph of atmosphere and visuals than of suspense. And it is certainly not without its shortcomings, the worst of which is a poorly constructed screenplay, which is hampered by underdeveloped cardboard characters, and a somewhat tired alien possession plotline in the vein of <i>Invaders from Mars</i> (1953), <i>It Came from Outer Space</i> (1953), <i>The Quatermass Xperiment</i> (1955) and <i>Invasion of the Body Snatchers</i> (1956) without really adding any fresh spin to the proceedings. The script underwent numerous rewrites by a series of different writers, so its uneven qualities are to be expected, but are regrettable nonetheless. And so is the misleading American title that AIP came up with, seeing as how the film only features vampires in a strictly metaphorical sense.
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<i>Italian newspaper ad bearing the Italian title</i> Terrore nello spazio<i>, i.e.</i> Terror in Space<i>, which is more appropraite than the American one</i>
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The worst stretch of the film is the opening 15 minutes, which are surprisingly dull due to a lot of uninteresting techno-babble. This is made worse by the fact that Bava drops the ball on the crash landing of the spaceship – a badly staged and flatly executed sequence that is slightly embarrassing to watch as the actors awkwardly thrust around while trying to give the impression of being affected by the heavy gravitational pull. Once the crew begins to investigate the sinister planet, the film thankfully picks up very quickly but it is still bogged down somewhat by the repetitive script. There are numerous sequences where the characters split up to investigate and leave one unlucky crew member to stand guard outside even though it <i>always</i> ends badly for the poor guy left on his own. Likewise, there’s a late surprise twist to the story, which in and of itself is pretty clever, but which fails to work because it makes absolutely no sense.
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<i>The cast awkwardly pretend to faint</i>
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There are also some continuity problems, with the most glaring error being the fact that there are <i>two</i> different actors playing the role of Salas, the captain of the Argos’ sister ship. When we first see him on a monitor he is played by frequent spaghetti western lead Peter Martell (real name Pietro Martellanza) but in the later scenes where he interacts physically with the other actors he is played by Massimo Righi, who had previously featured in such Bava films as <i>Black Sabbath</i> (1963) and <i>Blood and Black Lace</i> (1964). The reason for this discrepancy is not known and it’s very bizarre and silly, though I suspect many viewers will not even notice since several of the film’s underdeveloped supporting characters are more or less undistinguishable from one another. This problem is not helped by the English dubbing, which flubs several character names by continuously changing the pronunciation or even using the wrong name on a few occasions, but overall this is a minor quibble which does not detract from the film’s entertainment value in any significant way.
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<i>Planet of the Vampires</i> isn’t really an actor’s film but considering the limited material he is given to work with, Hollywood actor Barry Sullivan does a pretty solid job as the heroic captain. Sullivan also dubs his own performance for the English version of the film, which gives him a bit of an advantage over his dubbed co-stars. Brazilian actress Norma Bengell is also quite good in the female lead, and it is refreshing to see a female character that gets to do more than just scream and act the part of the damsel in distress. Bengell shows that she can take care of herself and she certainly knows her way around a laser gun as well. Somewhat less fortunate is the film’s other female character Tiona – played by popular 1960s starlet Evi Marandi – who is more your typically helpless female, who screams a lot and even faints if sufficiently upset. Marandi does this very well, however. She’s a great screamer and an even greater looker. The rest of the cast also includes several familiar faces from Italian genre cinema, such as Stelio Candelli, Franco Andrei, Rick Boyd and a young Ivan Rassimov at the start of his long career. They don’t really get a lot to do but it’s nice to have them around. And of course they’re all dressed in deliciously fetishistic black leather uniforms with yellow piping and huge Dracula-style collars. It’s quite a sight to behold!
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<i>The striking Brazilian starlet Norma Bengell, a major star in her homeland, makes for a strong and confident female lead</i>
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<i>Mario Morales, Ivan Rassimov and Evi Marandi display the spectacular leather uniforms in all their glory</i>
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While one cannot help but wonder what <i>Planet of the Vampires</i> could have been like had it been equipped with a stronger script, it is still a highly enjoyable, visually pleasing and colorful sci-fi adventure with a fantastic atmosphere. It stands as a testament to Bava’s remarkable ability to make something cheap look a million times better than it really has any right to, and as a triumphant example of style over substance. Recommended viewing!
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© 2015 Johan Melle
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<b>The cast:</b>
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<i>Barry Sullivan as Captain Mark Markary</i>
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<i>Norma Bengell as Sanya</i>
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<i>Angel Aranda as Wess</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSn52A_o_JUoNJZfkr0pJwnLtFQmfJLVfNh9VKr9poLbsRnOgh3C6Yl6Dn3LfZsAcT-WVHkf06OT9OeaR_mQ-bzQCZprXFBdiWI_RrghCrmJ9pQeSapVA2aep72s0tKpfGq98oQd_fBU/s1600/Vampires+-+Evi+Marandi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSn52A_o_JUoNJZfkr0pJwnLtFQmfJLVfNh9VKr9poLbsRnOgh3C6Yl6Dn3LfZsAcT-WVHkf06OT9OeaR_mQ-bzQCZprXFBdiWI_RrghCrmJ9pQeSapVA2aep72s0tKpfGq98oQd_fBU/s400/Vampires+-+Evi+Marandi.jpg" /></a></div>
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<i>Evi Marandi as Tiona</i>
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<i>Fernando Villena as Dr. Karan</i>
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<i>Stelio Candelli as Brad</i>
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<i>Franco Andrei as Burt</i>
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<i>Ivan Rassimov as Carter</i>
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<i>Massimo Righi as Captain Sallas</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3hkFlL6pX-nxP10OcsuYX-JH-R4vKU7eANuEL2N75WN3LrlfxjjSE0W8XSePG-sMrq4z96dcx7IV4i1HE-WJHnlL19_4edmsYtdCBUfShjFRPumdeSAKkWQ_01ejY4JZ77Mcchcl9nOc/s1600/Vampires+-+Rick+Boyd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3hkFlL6pX-nxP10OcsuYX-JH-R4vKU7eANuEL2N75WN3LrlfxjjSE0W8XSePG-sMrq4z96dcx7IV4i1HE-WJHnlL19_4edmsYtdCBUfShjFRPumdeSAKkWQ_01ejY4JZ77Mcchcl9nOc/s400/Vampires+-+Rick+Boyd.jpg" /></a></div>
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<i>Rick Boyd as Keir</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrM5s978qz9g1GjnLGJ-UJnN1RzpgVvDSfa8La3yExyWi-xYpROG-p2lKO9sXvexAftWVItZfT2__QsRUZDsLs7UNGyk4XevTw8d27VqBzcZb-bzcVAYOwEu6euaBVTnPB8fhm_uBnidA/s1600/Vampires+-+Alberto+Cevenini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrM5s978qz9g1GjnLGJ-UJnN1RzpgVvDSfa8La3yExyWi-xYpROG-p2lKO9sXvexAftWVItZfT2__QsRUZDsLs7UNGyk4XevTw8d27VqBzcZb-bzcVAYOwEu6euaBVTnPB8fhm_uBnidA/s400/Vampires+-+Alberto+Cevenini.jpg" /></a></div>
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<i>Alberto Cevenini as Toby Markary</i>
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<i>Mario Morales as Eldon</i>
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<div style="text-align: center;">
<i>Peter Martell as Captain Sallas (monitor sequence only)</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-4872683268168043542015-01-07T18:16:00.000-08:002020-04-21T12:05:02.751-07:00The Devil with Seven Faces/Il diavolo a sette facce<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1971
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Directed by Osvaldo Civirani
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Cast:
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Carroll Baker, George Hilton, Stephen Boyd, Lucretia Love, Daniele Vargas, Franco Ressel, Luciano Pigozzi, Ivano Staccioli, Roberto Messina, Maria Ricotti</b>
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It’s time to kick off the new year with a new review! The first film I’ll be reviewing this year is <i>The Devil with Seven Faces</i>, directed by Osvaldo Civirani, a fairly obscure filmmaker who is best known for a series of westerns, but he was really a jack of all trades and through the course of his 13-year career he cranked out Eurospy adventures, peplums, erotica, sexy mondo movies, and comedies with Franco and Ciccio. <i>The Devil with Seven Faces</i> was Civirani’s only stab at the then wildly popular giallo sub-genre, although it must be said to be somewhat of a borderline entry.
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Julie Harrison (Carroll Baker) is an American living in Amsterdam, where she works as a translator. Unfortunately, things aren’t going too well for her at the moment as she has the distinct impression that someone is spying on her. Julie’s worries are amplified when her identical twin sister Mary phones from London and says she’s in danger before the line is abruptly cut off.
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<i>Julie receives an alarming phone call from her twin sister - naturally through a yellow telephone</i>
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Julie seeks out her lawyer friend Dave Barton (Stephen Boyd) and confides her worries to him. But no sooner has Julie left Dave’s office than a pair of sleazy thugs are jumping her and trying to pull her into a car. Fortunately, Dave and his hunky, race car driving friend Tony Shane (George Hilton – dubbed by Christopher Cruise) come rushing to Julie’s aide and are able to fend off her would-be kidnappers who hurriedly flee the scene. Tony nonchalantly introduces himself to Julie by telling her that “Saving beautiful women is my hobby”, and apparently that’s all it takes to woo her. The two begin dating and leave it mostly up to poor Dave to try and figure out who Julie’s tormentors are and what’s happened to her twin sister!
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<i>Tony comes to Julie's rescue</i>
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<i>Julie and her two beaus try to figure out what to do...</i>
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<i>...but Tony appears somewhat more keen on romance</i>
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After a night on the town, Julie and Tony head back to her place, but the thugs who tried to kidnap her earlier are waiting for them. Tony gets a gun to his head and is forced to watch as the leader, a low-life named Hank (Ivano Staccioli), pins Julie to the sofa, rips her blouse open and puts a knife to her throat. It turns out they’ve mistaken Julie for her twin sister Mary, who has apparently stolen a one-million dollar diamond in London and then double-crossed her accomplices and made off with the diamond herself...
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<i>Julie and Tony are menaced by the baddies</i>
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In spite of its classic giallo title, <i>The Devil with Seven Faces</i> just barely qualifies as a giallo at all. It’s really more of crime-thriller with a couple of double crosses and surprise twists thrown in here and there, but unfortunately, it fails to provide much in the way of excitement regardless of what genre it belongs to. The main drawback is a tired and uninspired script (co-written by Tito Carpi and director Civirani), which is surprisingly uneventful and short on thrills – with an absurd amount of screen time devoted to showing the characters puff cigarettes or talk on the phone. Not helping matters are the hopelessly predictable twists that will come as a surprise to no one (the ‘big reveal’ about the twin sisters is telegraphed <i>way</i> in advance), and the script’s weaknesses are amplified by Civirani’s dull and pedestrian direction, which stops the feeble attempts at building suspense dead in their tracks.
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The film on the whole is awfully tame, with the tone being set already in the ridiculous opening sequence in which Julie is stalked by a mysterious stranger who catches up with her and, instead of attacking her, merely whips out a camera and start snapping pictures of her – causing her to faint. It’s a terribly lackluster way to kick off the film and it fails to set up Julie’s stalkers as any serious threat to her well-being. At various later points in the film they make a half-hearted attempt to kidnap her, threaten her with a knife or force her head into bathtub full of water but with Civirani’s ham-fisted direction there’s never any real excitement and one never fears that Julie will come to any lasting harm.
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Compensating for the aforementioned dreariness is a pretty awesome cast, although none of the actors are utilized all that well. Carroll Baker’s leading turn in Romolo Guerrieri’s hugely successful <i>The Sweet Body of Deborah</i> (1968) led to her starring in a string of gialli in which she played sexy damsels in distress who may or may not be as innocent as they first appear. By 1971, however, Baker had clearly grown rather tired of such roles, which her largely disengaged performance in <i>The Devil with Seven Face</i>s is ample proof of. She’s mostly phoning it in here and couldn’t even be persuaded to provide some nudity this time around. George Hilton – who had made his giallo debut alongside Baker in <i>The Sweet Body of Deborah</i> – was even more of giallo superstar at this point, but unlike Baker, he doesn’t seem to have tired of such films. The script admittedly gives him nothing to do but to rehash his old act as the shifty-faced Latin lothario (with plenty of close-ups of him doing shady expressions to make us ponder whether he’s a goodie or a baddie), but at least he looks <i>great</i> in his chic designer clothes.
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<i>George Hilton puts on a sinister face for the camera</i>
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<i>This is a risqué as Carroll Baker was willing to get this time</i>
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The one that comes off the best is Stephen Boyd as Baker’s lawyer friend. Irish-born Boyd is best known for his excellent performance as Messala in the legendary Hollywood epic <i>Ben-Hur</i> (1959), but his career started dwindling in the late 1960s – propelling him into a period of doing European B-movies that would last until his premature death of a heart attack in 1977. He’s clearly not taking himself too seriously here, but his relaxed demeanor and natural charm serve him well and he’s a great asset to the film.
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<i>Stephen Boyd's suave charms and relaxed attitude is one of the film's saving graces</i>
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The cast also includes the lovely Lucretia Love, who is pretty wasted as Baker’s secretary, and the always welcome Franco Ressel as a police inspector, while beloved character actors Luciano Pigozzi, Daniele Vargas and Ivano Staccioli play various low-lives out to get their hands on the million dollar diamond. They don’t get a lot to do, but they’ve got the perfect faces for their parts and their sheer presence adds to the enjoyment.
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<i>The great Luciano Pigozzi can always be relied on to provide some good fun</i>
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Thankfully, the film offers a few other redeeming features as well. A rare stand-out sequence occurs when Baker hears strange noises and decides to explore a dark, cob-webbed attic – with nothing but a cigarette lighter to light the way for her – and happens upon a corpse. It’s an atmospheric and well-crafted sequence, but it undeniably feels as though it has been shoehorned into the film for no good reason other than to have a dead body turn up. Additionally, the climax at an old, deserted windmill is also reasonably effective and offers a couple of mild thrills.
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<i>One of the film's more atmospheric moments</i>
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<i>The climax where a scantily clad Baker is menaced in an abandoned windmill is good fun</i>
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Another strong asset is the loungy, delightful score by the always excellent Stelvio Cipriani, featuring wordless vocals by the great Nora Orlandi. It's also a pretty nicely shot film and the Amsterdam locations are great, though somewhat underused.
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If that’s not enough to keep your interest up, there’s always some unintentional fun to be had in the form of silly dubbed dialogue, a ridiculous-looking car chase with speeded up footage, and some hilariously unsubtle product placement (all of the characters are constantly smoking and there are more close-ups of cigarette packs than I was able to keep track of). But the biggest WTF moment by far is when a knife-wielding guy in a gorilla mask enters Carroll Baker’s office and scares her half to death before revealing himself to be her pranking Asian work colleague who grinningly tells her “I gweat authowity on howwow stowies!” It’s like a little precursor to the infamous jump scare sequence in J.P. Simon's <i>Pieces</i> (1982) in which Lynda Day George is inexplicably attacked by an Asian guy who then blames his violent outburst on some bad chop suey.
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<i>The pictures speak for themselves, really!</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1vBaz6IiNaonTiP_G09qMXNiM6Ybu0Zzx37kONKqvo-Z1ME-AuOPKB-LHiI02GqT6e0B4NnwuTmLxTJJhhHvndWSGJpYWLRSN0QVbdEkPOv9Wmze0z5UEVQecHu6CU3NCMT3eMxlMN38/s1600/Seven+Faces+-+Smoking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1vBaz6IiNaonTiP_G09qMXNiM6Ybu0Zzx37kONKqvo-Z1ME-AuOPKB-LHiI02GqT6e0B4NnwuTmLxTJJhhHvndWSGJpYWLRSN0QVbdEkPOv9Wmze0z5UEVQecHu6CU3NCMT3eMxlMN38/s400/Seven+Faces+-+Smoking.jpg"></a></div>
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<i>Hardly a scene goes by in this film without the actors puffing away on some Peer Export cigarettes. I wouldn't be surprised if that's where a large chunk of the film's budget came from</i>
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And, as expected, the (then) trendy design and fashion tastes on display are another source of constant amusement. Apparently, nothing was considered too much when it came to fashion back in the early 1970s, and “less is more” was a clearly a term unheard of. Gialli are the ultimate showcase for the period’s stunning lack of restraint, and <i>The Devil with Seven Faces</i> is no exception as it is ripe with amazing mod fashions, oversized table lamps, hideous abstract art, and a seemingly endless supply of wigs. Carroll Baker and Lucretia Love keep changing in and out of wigs for no good reason at all – some of which are sexy, while others are hilariously unfitting. The pièce de résistance is surely the blue, braided one worn by Baker while she’s sunbathing on a beach together with a suited Stephen Boyd. Big kudos to Boyd for keeping a straight face throughout that insanely absurd scene!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV0LWIP-6Ha-EoQJI_APkPZ2tl0uLlY8LMGHq0jWktw2ifA6fhOpxLGiY_DLORyrt26Q7dZrumRB7rh2aNu_zTZ3zztgR2pRYLyB0AQK6cXCaOTcQIwl7KP4PFod1H_p-nHLtIK1vdaIw/s1600/Seven+Faces+-+Awesome+Office.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV0LWIP-6Ha-EoQJI_APkPZ2tl0uLlY8LMGHq0jWktw2ifA6fhOpxLGiY_DLORyrt26Q7dZrumRB7rh2aNu_zTZ3zztgR2pRYLyB0AQK6cXCaOTcQIwl7KP4PFod1H_p-nHLtIK1vdaIw/s400/Seven+Faces+-+Awesome+Office.jpg"></a></div>
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<i>Julie's office is a real sight to marvel at. Just look at that floral painting and the yellow table lamp!</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7try-a-1H228r4h-vubepSvNTpthQ5-vYkBlytXBBx8UASk239GC8LxJNjJvnNNKxhjh9uI29hkgfnZb3Zx_-QHAPuumsWjgq5ElNhNxNhSzjwAbRXPNpG4ATRGCHx94tnUhVkiksT0w/s1600/Seven+Faces+-+Blue+Wig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7try-a-1H228r4h-vubepSvNTpthQ5-vYkBlytXBBx8UASk239GC8LxJNjJvnNNKxhjh9uI29hkgfnZb3Zx_-QHAPuumsWjgq5ElNhNxNhSzjwAbRXPNpG4ATRGCHx94tnUhVkiksT0w/s400/Seven+Faces+-+Blue+Wig.jpg"></a></div>
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<i>No comment necessary!!</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6C96hp0gwR1VI77_NJagqdlNugA1FyDeXpOB7vnhr_Z7i0zvTpbM63zFwbbZDUf08Hl0O_lSmwVw2ZYXJPVXMnFB2tvvN9rx-NUinwKnt14mGRdnxFDmtdPz_mS6fEtDvQcvfunnkQ0/s1600/Seven+Faces+-+Kitsch+Aplenty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6C96hp0gwR1VI77_NJagqdlNugA1FyDeXpOB7vnhr_Z7i0zvTpbM63zFwbbZDUf08Hl0O_lSmwVw2ZYXJPVXMnFB2tvvN9rx-NUinwKnt14mGRdnxFDmtdPz_mS6fEtDvQcvfunnkQ0/s400/Seven+Faces+-+Kitsch+Aplenty.jpg"></a></div>
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<i>There's definitely no shortage of horrible art and funky wigs on display</i>
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I can't possibly recommend anyone to seek out a film as lackluster as <i>The Devil with Seven Faces</i>, but for all its flaws, it also <i>does</i> have its weird charms, so I guess you'd might as well give it a spin on a rainy day. But keep your expectations low.
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© 2015 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRpyPmLSImPGG9aVDA75BmQVrBFN5-o01M1r4mCp-4aReVX55raVuY6e1irYKyFLgxvzVFRQvyQob_JgYSPkacta6cWF3QnnrfyK1JqpNGWgOfK0RtYlmXE0Hsel0wSk5js8QNz0kB7E/s1600/Seven+Faces+-+Carroll+Baker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzRpyPmLSImPGG9aVDA75BmQVrBFN5-o01M1r4mCp-4aReVX55raVuY6e1irYKyFLgxvzVFRQvyQob_JgYSPkacta6cWF3QnnrfyK1JqpNGWgOfK0RtYlmXE0Hsel0wSk5js8QNz0kB7E/s400/Seven+Faces+-+Carroll+Baker.jpg"></a></div>
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<i>Carroll Baker as Julie Harrison/Mary Harrison</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhLdx-CGI2PnOV_pRkdSmeioEtigZE7Uiqd1epip0_kgkFnmYY9KkEwkFpK3trXieT1Q2_0lhKxU3-n2cFPDnYhqRbghIXt9oiMskh8gIdu6DrMOCKRB7BThBglxrbofmOTr9QKjOlG0/s1600/Seven+Faces+-+George+Hilton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhLdx-CGI2PnOV_pRkdSmeioEtigZE7Uiqd1epip0_kgkFnmYY9KkEwkFpK3trXieT1Q2_0lhKxU3-n2cFPDnYhqRbghIXt9oiMskh8gIdu6DrMOCKRB7BThBglxrbofmOTr9QKjOlG0/s400/Seven+Faces+-+George+Hilton.jpg"></a></div>
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<i>George Hilton as Tony Shane</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAg22nM1LIbApZL5_PmoZL5riItwGEX_XNQRAKV5kVLVtBtlSfZVkBSy8Uw90Pjk_goxmF8zehs-QSUTUNuex9NuNDDc8dXOo4sCSqMlTybG7pKPzFTg-fb6xAGwfo65gbyGCmNQnwvk/s1600/Seven+Faces+-+Stephen+Boyd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAg22nM1LIbApZL5_PmoZL5riItwGEX_XNQRAKV5kVLVtBtlSfZVkBSy8Uw90Pjk_goxmF8zehs-QSUTUNuex9NuNDDc8dXOo4sCSqMlTybG7pKPzFTg-fb6xAGwfo65gbyGCmNQnwvk/s400/Seven+Faces+-+Stephen+Boyd.jpg"></a></div>
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<i>Stephen Boyd as Dave Barton</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ-767GeyEUDEsOtX49GOmiYDiRtO1gnbqVqV94QiFynEHM3UOV8xtbg_G8p5gUdwLwGlgQinqzH5EFfRUSPHzs5MypcYK6d0Vlmk0M1uuLysKg9aGJPdzT1ALwHQDAMTsknsv8YUMm7o/s1600/Seven+Faces+-+Lucretia+Love.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ-767GeyEUDEsOtX49GOmiYDiRtO1gnbqVqV94QiFynEHM3UOV8xtbg_G8p5gUdwLwGlgQinqzH5EFfRUSPHzs5MypcYK6d0Vlmk0M1uuLysKg9aGJPdzT1ALwHQDAMTsknsv8YUMm7o/s400/Seven+Faces+-+Lucretia+Love.jpg"></a></div>
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<i>Lucretia Love as Margaret</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS65xqbACyvWhyphenhyphen3ruT2ph-2lt3h1Oydl0E_FdDHuQPMd0eTzY6Wx8iw2y0snh4L3P6NIuN_oXB9dT1pSRmcGm-ZrtJCnLwGGscSz_SklI4JKrhR5i-hLtndgHxjndqtJn0WkuuPswGdKA/s1600/Seven+Faces+-+Daniele+Vargas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS65xqbACyvWhyphenhyphen3ruT2ph-2lt3h1Oydl0E_FdDHuQPMd0eTzY6Wx8iw2y0snh4L3P6NIuN_oXB9dT1pSRmcGm-ZrtJCnLwGGscSz_SklI4JKrhR5i-hLtndgHxjndqtJn0WkuuPswGdKA/s400/Seven+Faces+-+Daniele+Vargas.jpg"></a></div>
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<i>Daniele Vargas as James Marlowe</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSTMxyz_7BLAzozfA9Srp2Hk14Csputas0jN9WtfaIBJ5kPoV1kWPdAHiA3hMAyTh1LSKjyjiIabwnyqo9U-fQ8ZqvEU7nulj7M9JZ4km35Yv6T-tDhyBxB8CdU-L8mT_ExMwKILE6l9Y/s1600/Seven+Faces+-+Franco+Ressel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSTMxyz_7BLAzozfA9Srp2Hk14Csputas0jN9WtfaIBJ5kPoV1kWPdAHiA3hMAyTh1LSKjyjiIabwnyqo9U-fQ8ZqvEU7nulj7M9JZ4km35Yv6T-tDhyBxB8CdU-L8mT_ExMwKILE6l9Y/s400/Seven+Faces+-+Franco+Ressel.jpg"></a></div>
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<i>Franco Ressel as Inspector Rinkel</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF5b8N6g6zQ5BfmaD1eImCU1ctJB5xPmqs-h7IP1AarJ24bxwz1A7QSnBGBYS8IK78PFRgE0PohgsY99_DKdt9wqf3fFzpC3a0DS8kNdNbVLZMvczY8XJzvY382cLNBAtFjzFgIBlcavg/s1600/Seven+Faces+-+Luciano+Pigozzi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF5b8N6g6zQ5BfmaD1eImCU1ctJB5xPmqs-h7IP1AarJ24bxwz1A7QSnBGBYS8IK78PFRgE0PohgsY99_DKdt9wqf3fFzpC3a0DS8kNdNbVLZMvczY8XJzvY382cLNBAtFjzFgIBlcavg/s400/Seven+Faces+-+Luciano+Pigozzi.jpg"></a></div>
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<i>Luciano Pigozzi as Steve Hunter</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUdIk7ytjCAyzsJXEsaK08c80b7vZlvWpcn6o4ji3FGR8E2Ra8uoJGilJ7Rq1ALr9RUcpjlPiFzrjh4-Bl10WM5JO2NaVMUq7HOj8V4JvhrEY0cAvKTWuNqwE3RQrI2DoDCKqY6hSXuoM/s1600/Seven+Faces+-+Ivano+Staccioli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUdIk7ytjCAyzsJXEsaK08c80b7vZlvWpcn6o4ji3FGR8E2Ra8uoJGilJ7Rq1ALr9RUcpjlPiFzrjh4-Bl10WM5JO2NaVMUq7HOj8V4JvhrEY0cAvKTWuNqwE3RQrI2DoDCKqY6hSXuoM/s400/Seven+Faces+-+Ivano+Staccioli.jpg"></a></div>
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<i>Ivano Staccioli as Hank</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ7dH7c4gQxuwmGCVDYkS4pZs_CZeNPHaBc7MhTbWORLs9UvE9p3jo3lv4ATqHjx0b5kzp_VwTczewApbtlTXMKjldHEvvzq9IG64vF7VR6QpObiYrqhsx2af3Ts3omCv3pvkZYauheLU/s1600/Seven+Faces+-+Roberto+Messina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ7dH7c4gQxuwmGCVDYkS4pZs_CZeNPHaBc7MhTbWORLs9UvE9p3jo3lv4ATqHjx0b5kzp_VwTczewApbtlTXMKjldHEvvzq9IG64vF7VR6QpObiYrqhsx2af3Ts3omCv3pvkZYauheLU/s400/Seven+Faces+-+Roberto+Messina.jpg"></a></div>
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<i>Robert Messina as A henchman</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUhxozSYLfnE4CzmbEScQWbnm0zKr7506MV1Z1gLFVS6L-0Iw3VVNCV-oe7x2-DBEOLu_e9x8OHRuwnc9etc0VjqSZ1DuZgVAu37EovLV5uOPOX8zIB9ULhuhNuTU7LeSVK5oJOfdvSWs/s1600/Seven+Faces+-+Van+Doren.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUhxozSYLfnE4CzmbEScQWbnm0zKr7506MV1Z1gLFVS6L-0Iw3VVNCV-oe7x2-DBEOLu_e9x8OHRuwnc9etc0VjqSZ1DuZgVAu37EovLV5uOPOX8zIB9ULhuhNuTU7LeSVK5oJOfdvSWs/s400/Seven+Faces+-+Van+Doren.jpg"></a></div>
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<i>??? as Sgt. Van Doren</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj69bfQ4ss7pKIRtIN4n5_cZxvKqhEyG2XWTFkTjDxRcA5oWuMYGgftkrNvYyt6d2HGpI48LuRPsKKoIJKqd6PyEPwvUQOgjIJlTZBdpZ_efZE8DPlItCa5s7eprTWq01Ny2FobDjEXR-U/s1600/Seven+Faces+-+Secretary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj69bfQ4ss7pKIRtIN4n5_cZxvKqhEyG2XWTFkTjDxRcA5oWuMYGgftkrNvYyt6d2HGpI48LuRPsKKoIJKqd6PyEPwvUQOgjIJlTZBdpZ_efZE8DPlItCa5s7eprTWq01Ny2FobDjEXR-U/s400/Seven+Faces+-+Secretary.jpg"></a></div>
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<i>??? as Dave's secretary</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5pgUk4IkQRvUDtZzK1h3o9Tw6KVsl68i0NjIW4kYplsMWhYEFOMuo91F8fjYmUqdc726oq2hYgWU_P6Er8KsfZFEhI-1pnT3zEwxwRAqHCdJfKjy01pBnz4Gvq5KfM9qDi6tnJojYKE/s1600/Seven+Faces+-+Henchman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5pgUk4IkQRvUDtZzK1h3o9Tw6KVsl68i0NjIW4kYplsMWhYEFOMuo91F8fjYmUqdc726oq2hYgWU_P6Er8KsfZFEhI-1pnT3zEwxwRAqHCdJfKjy01pBnz4Gvq5KfM9qDi6tnJojYKE/s400/Seven+Faces+-+Henchman.jpg"></a></div>
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<i>??? as A henchman</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrztlILSe9sW6BhfQIRRepI3iBZ62PqhkAHhuC9hV7ngEqyVjmJaqKKmnJ1W50lSr1j0eUnPs7MXN6Vg_w-J2dJyNJQp1khlWRJSprF3gtqvcjmTGvkAdETAn8NeyMC8E7iCnm3sKmxu0/s1600/Seven+Faces+-+Mrs+Horst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrztlILSe9sW6BhfQIRRepI3iBZ62PqhkAHhuC9hV7ngEqyVjmJaqKKmnJ1W50lSr1j0eUnPs7MXN6Vg_w-J2dJyNJQp1khlWRJSprF3gtqvcjmTGvkAdETAn8NeyMC8E7iCnm3sKmxu0/s400/Seven+Faces+-+Mrs+Horst.jpg"></a></div>
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<i>??? as Mrs. Horst</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-24284853875326814092014-12-09T10:20:00.000-08:002014-12-11T14:56:08.356-08:00Giallo newspaper ads - Part 2<br />
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As promised, here is the second instalment of my postings of giallo newspaper ads printed in <i>La Stampa</i>. This post focuses on ads from 1972 (the peak year of the giallo), plus a few entries from 1973 (at which point audience interest had clearly started to wane). Enjoy!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE07HHFRcxsmcpGuXv1YEL68VIPF9QwdiFgZZUMU3hsHdZUQXFEVoKhPNZcgxEZsnvuNtmnL8vZATv0u0rReGVJLYval2UwcYnKFwzn2nBWqjIQAxMOgTp-Qk4M0-TXcnpQP7f9898bWg/s1600/My+Dear+Killer+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE07HHFRcxsmcpGuXv1YEL68VIPF9QwdiFgZZUMU3hsHdZUQXFEVoKhPNZcgxEZsnvuNtmnL8vZATv0u0rReGVJLYval2UwcYnKFwzn2nBWqjIQAxMOgTp-Qk4M0-TXcnpQP7f9898bWg/s400/My+Dear+Killer+La+Stampa+Ad+1972b.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwCjsyv-Lo7tO5sLmEeCViN82EKq3LJcX4XmUuGSMIU77Ihgc3ZbAytKv8C93MoUOMLZbjvHKnLMX7oYviMj6hjHMJqpI75_zKua1QoPTscteu9Vo7Bii3XVswDv8c4mTvDwoMLxYe-I/s1600/My+Dear+Killer+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwCjsyv-Lo7tO5sLmEeCViN82EKq3LJcX4XmUuGSMIU77Ihgc3ZbAytKv8C93MoUOMLZbjvHKnLMX7oYviMj6hjHMJqpI75_zKua1QoPTscteu9Vo7Bii3XVswDv8c4mTvDwoMLxYe-I/s400/My+Dear+Killer+La+Stampa+Ad+1972c.png" /></a></div>
<div style="text-align: center;">
Tonino Valerii's <i>My Dear Killer</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqvTOrXXR7uZm0KDMc_vJ3LYHPc0c1oWuoFq1S0_zUxt-ttKDmxOal0zRetSIvRja-heoPx4ORTUrRRsTRKh1gkQxIGIlEggr5okFiTNXOh67IqAsCsT0lqI5HNQU8gXBU60GAg2g1XE/s1600/Etruscan+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqvTOrXXR7uZm0KDMc_vJ3LYHPc0c1oWuoFq1S0_zUxt-ttKDmxOal0zRetSIvRja-heoPx4ORTUrRRsTRKh1gkQxIGIlEggr5okFiTNXOh67IqAsCsT0lqI5HNQU8gXBU60GAg2g1XE/s400/Etruscan+La+Stampa+Ad+1972b.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpq2xWU9bgwJzCir4F19InvXI88fFBBB_niAfq059Q_8DAfHG3R2rxTBY5IJ5HOQhHRPFANpaACu0Pmvhing9KNcPseiv1i73JRMP5sS_14wtgqDIiQILMBoQucnIZFUdNtER8dWu25xg/s1600/Etruscan+La+Stampa+Ad+1972e.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpq2xWU9bgwJzCir4F19InvXI88fFBBB_niAfq059Q_8DAfHG3R2rxTBY5IJ5HOQhHRPFANpaACu0Pmvhing9KNcPseiv1i73JRMP5sS_14wtgqDIiQILMBoQucnIZFUdNtER8dWu25xg/s400/Etruscan+La+Stampa+Ad+1972e.png" /></a></div>
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Armando Crispino's <i>The Etruscan Kills Again</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7HAT26ZHvTGpKoMFCKBYONdhqvZi71K1U8wfn5863Gwzmgm31cHzxaz8WyHl-W-QJdcevHiFd4Av2pNJM_2OmKpUy1GKn5QxyrgoAvxSrPv0HjF_4qRQI3qnSn9A4Caei1s_dDCHuncg/s1600/Orchids+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7HAT26ZHvTGpKoMFCKBYONdhqvZi71K1U8wfn5863Gwzmgm31cHzxaz8WyHl-W-QJdcevHiFd4Av2pNJM_2OmKpUy1GKn5QxyrgoAvxSrPv0HjF_4qRQI3qnSn9A4Caei1s_dDCHuncg/s400/Orchids+La+Stampa+Ad+1972c.png" /></a></div>
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Umberto Lenzi's <i>Seven Blood-Stained Orchids</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaBYgl24CswOvHXCsRPp4lqgietLx5ThP-9LDhs3FWEyvoa-HL6IPJh9OXjOF8sSn6YfxEfTMYlTPuwvmT4W4704eao6qiB07eapKiEzGb9_I0EvXkPu3hx4wK_FSdpd9fPPb4GKfp7zk/s1600/Colors+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaBYgl24CswOvHXCsRPp4lqgietLx5ThP-9LDhs3FWEyvoa-HL6IPJh9OXjOF8sSn6YfxEfTMYlTPuwvmT4W4704eao6qiB07eapKiEzGb9_I0EvXkPu3hx4wK_FSdpd9fPPb4GKfp7zk/s400/Colors+La+Stampa+Ad+1972b.png" /></a></div>
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Sergio Martino's <i>All the Colors of the Dark</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvIhZLjN6V0PBr5QWHothMOtsF0feNBX5eQURGlSnIcQTuJ72UruWv2Ot3RKV6a0WfCOa5OjH5HolJSHMqP5t0mVkr26SKUnBZkbkNndehWWEVHCA_NEgciNF3AXyVz26cxl5jDzjf2E/s1600/Faces+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzvIhZLjN6V0PBr5QWHothMOtsF0feNBX5eQURGlSnIcQTuJ72UruWv2Ot3RKV6a0WfCOa5OjH5HolJSHMqP5t0mVkr26SKUnBZkbkNndehWWEVHCA_NEgciNF3AXyVz26cxl5jDzjf2E/s400/Faces+La+Stampa+Ad+1972.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9hEUQ6cDS6RB32w2zi4j0S3kpxeGBPJej7ylZ_qyQZrs_ubWsPJ2_2bIwIWb3pYZI-b7XKIAY4r804OR28U9jebMAFNLSzaKOnkH72HZRTQrSDTVF6zj2lDN_Lb4SXw3WsRfLo05mqo/s1600/Faces+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9hEUQ6cDS6RB32w2zi4j0S3kpxeGBPJej7ylZ_qyQZrs_ubWsPJ2_2bIwIWb3pYZI-b7XKIAY4r804OR28U9jebMAFNLSzaKOnkH72HZRTQrSDTVF6zj2lDN_Lb4SXw3WsRfLo05mqo/s400/Faces+La+Stampa+Ad+1972b.png" /></a></div>
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Tulio Demicheli's <i>The Two Faces of Fear</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUO9GGoUP-yXgn4GjpgabL69_aa0FHCeDLm4_EVl7X3tl5kNFcaUjQ4AJmw9OUiSY5LtdtPtgw0EkFpi41Bssax2dyj_mkHZMaEs3w91ZBbWOiBP59nUrdduaEOrcDhQFD9NiyVk81Sc/s1600/Solange+Ad+La+Stampa+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUO9GGoUP-yXgn4GjpgabL69_aa0FHCeDLm4_EVl7X3tl5kNFcaUjQ4AJmw9OUiSY5LtdtPtgw0EkFpi41Bssax2dyj_mkHZMaEs3w91ZBbWOiBP59nUrdduaEOrcDhQFD9NiyVk81Sc/s400/Solange+Ad+La+Stampa+1972.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8hAnsR_EgOFpCqcXlIpZ0eYGhesIKJ_BRW18yLIsH9beRgbgWQ0n3S7-jTl_E4LNOzJIRvZo-YoI6emfq6CleDKmP3KdAwb-DVitt0aQDYPRNbNOjP4aFnDXUqoEU7Cpo99BaGlJsuM/s1600/Solange+Ad+La+Stampa+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8hAnsR_EgOFpCqcXlIpZ0eYGhesIKJ_BRW18yLIsH9beRgbgWQ0n3S7-jTl_E4LNOzJIRvZo-YoI6emfq6CleDKmP3KdAwb-DVitt0aQDYPRNbNOjP4aFnDXUqoEU7Cpo99BaGlJsuM/s400/Solange+Ad+La+Stampa+1972c.png" /></a></div>
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Massimo Dallamano's <i>What Have You Done to Solange?</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUvX0s1wHT3jnpCDkeyLM6yrQaJys72Fuch4V2N9bLxU0szo8xPAY_3bmfqaM52aedEa9z3OSMTWcpFl__QzIsK0MdxG0cMTk5TeHcLdCitxe9V2C17aVD4z8hiBAHZaYSeSFtRVUzJo/s1600/Amuck+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUvX0s1wHT3jnpCDkeyLM6yrQaJys72Fuch4V2N9bLxU0szo8xPAY_3bmfqaM52aedEa9z3OSMTWcpFl__QzIsK0MdxG0cMTk5TeHcLdCitxe9V2C17aVD4z8hiBAHZaYSeSFtRVUzJo/s400/Amuck+La+Stampa+Ad+1972b.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEO5TZV6oVHOy7eNlcB204ucI82PbIk-2FfquIm6rjdNkZKEVSQv3iML7dhj1nGQ3uW7AooMMdeKYZ1r6EuveSj7m9kcxfsw-r77X1LNjSqgfgKubXu2yToQG-AbY7hlcZCwTD5wSLEQg/s1600/Amuck+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEO5TZV6oVHOy7eNlcB204ucI82PbIk-2FfquIm6rjdNkZKEVSQv3iML7dhj1nGQ3uW7AooMMdeKYZ1r6EuveSj7m9kcxfsw-r77X1LNjSqgfgKubXu2yToQG-AbY7hlcZCwTD5wSLEQg/s400/Amuck+La+Stampa+Ad+1972c.png" /></a></div>
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Silvio Amadio's <i>Amuck</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRrtNvs3xE0Y9R2M3wWFn1eWiX1P6P7_3yvHtd3YJCWjZYKilHhvrohhpWmmQG7RnX1OZbfX6CdIDLy3i2o_ru117YsJLXLv6ZkX_LHWIw9GsN4lXzI1KEmOEPBmORGbZwQggVozaQtA/s1600/Labyrinth+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRrtNvs3xE0Y9R2M3wWFn1eWiX1P6P7_3yvHtd3YJCWjZYKilHhvrohhpWmmQG7RnX1OZbfX6CdIDLy3i2o_ru117YsJLXLv6ZkX_LHWIw9GsN4lXzI1KEmOEPBmORGbZwQggVozaQtA/s400/Labyrinth+La+Stampa+Ad+1972.png" /></a></div>
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Mario Caiano's <i>The Eye in the Labyrinth</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKDz3II9cxoF6YC5M1gWNvVqk-fZSC1fz6GMc1MI4qVkWHyM0YpAQOATuabHhHj0YqSgQp2emOIA65ftGC2INUUjQ_jG2rchBfqjI0NPm0xIHT8ctIWdCKVRRJOkEdF5QTAfRgK_2FNg/s1600/Brain+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKDz3II9cxoF6YC5M1gWNvVqk-fZSC1fz6GMc1MI4qVkWHyM0YpAQOATuabHhHj0YqSgQp2emOIA65ftGC2INUUjQ_jG2rchBfqjI0NPm0xIHT8ctIWdCKVRRJOkEdF5QTAfRgK_2FNg/s400/Brain+La+Stampa+Ad+1972b.png" /></a></div>
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Sergio Sollima's <i>The Devil in the Brain</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCc_9AeMcdmqyEK8e3qMmvqm1LK3Cw21QltSKsdvsuZtk3Q5RPysrp4UvsQFzd2Rq7Dyu4QKLgFk-M88JREtQlVrMdHCqQ8IjnKCtr-BQx-DaQnbB78TLze87xp6LAKjk_G_3gRoAhS9A/s1600/Prosecutor+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCc_9AeMcdmqyEK8e3qMmvqm1LK3Cw21QltSKsdvsuZtk3Q5RPysrp4UvsQFzd2Rq7Dyu4QKLgFk-M88JREtQlVrMdHCqQ8IjnKCtr-BQx-DaQnbB78TLze87xp6LAKjk_G_3gRoAhS9A/s400/Prosecutor+La+Stampa+Ad+1972.png" /></a></div>
<div style="text-align: center;">
Giuseppe Vari's <i>Who Killed the Prosecutor and Why?</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTK7hHgeGGBus60PmKVWfolO-6VCVDtLf0k5ykOeLA5J3I_nZQ8mr7YdYrKRRTIeFLpNMn-6qdACnGirfrbRo0jYD54gMtah8w0TT2dDKwWpqo_H6qGpvgbEirVtEIV_k666T0ZM4jv9w/s1600/Smile+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTK7hHgeGGBus60PmKVWfolO-6VCVDtLf0k5ykOeLA5J3I_nZQ8mr7YdYrKRRTIeFLpNMn-6qdACnGirfrbRo0jYD54gMtah8w0TT2dDKwWpqo_H6qGpvgbEirVtEIV_k666T0ZM4jv9w/s400/Smile+La+Stampa+Ad+1972.png" /></a></div>
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Silvio Amadio's <i>Smile Before Death</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQNqMYYLvrIHZLHUTz_SrpsnvTKY43K1oh9OTFetEHftSzQHUK4hP3W7CPlZMJMEmLlcNab9hFoSUXr165UrUGyxKKr3947CefwHzMyEwmyx-MHhRiCxtgZFcfT1N8YIUiH06EADamfI/s1600/Saw+La+Stampa+Ad+1972a.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQNqMYYLvrIHZLHUTz_SrpsnvTKY43K1oh9OTFetEHftSzQHUK4hP3W7CPlZMJMEmLlcNab9hFoSUXr165UrUGyxKKr3947CefwHzMyEwmyx-MHhRiCxtgZFcfT1N8YIUiH06EADamfI/s400/Saw+La+Stampa+Ad+1972a.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3qTTiyHXHm-vx2OLdsi0qhLxjxpkiogMb6MA64Nx6D1AW8l7vw60qY9Hasm1rDAtuJaJmIzdTIatZskOwgMNepaap_b8RzQQAjm_On6dSJOvln_g5h6YYyuRd6fxkUBlt3g0_NzqxHwQ/s1600/Saw+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3qTTiyHXHm-vx2OLdsi0qhLxjxpkiogMb6MA64Nx6D1AW8l7vw60qY9Hasm1rDAtuJaJmIzdTIatZskOwgMNepaap_b8RzQQAjm_On6dSJOvln_g5h6YYyuRd6fxkUBlt3g0_NzqxHwQ/s400/Saw+La+Stampa+Ad+1972b.png" /></a></div>
<div style="text-align: center;">
Aldo Lado's <i>Who Saw Her Die?</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMplZ3e_gf-T2VP9diHsEU3Xb6q-iZokOmg0Ne46tV3a1hsRDHTexgwBJhYaYzSgtRYFsw8E5atf4PouNy0r2wG5IoXjvpcfGx2jlnwIfMmS3_2g9DlXOWBdzDu8yM4Sdc8k9t5_D8VU/s1600/Naked+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMplZ3e_gf-T2VP9diHsEU3Xb6q-iZokOmg0Ne46tV3a1hsRDHTexgwBJhYaYzSgtRYFsw8E5atf4PouNy0r2wG5IoXjvpcfGx2jlnwIfMmS3_2g9DlXOWBdzDu8yM4Sdc8k9t5_D8VU/s400/Naked+La+Stampa+Ad+1972.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzQp3BwYn9_fKjxmd38UXtifZeXioDizcNeSk6PV5rcBO1lniR9szq53zMODX3vG5c6XfmesAGVwWxTLtwdbgc2mDzob_Sr458k_FtOhFar7JvUjOS70H4dKkqtaMAYqhEo7uJJ_hyphenhyphenCk/s1600/Naked+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzQp3BwYn9_fKjxmd38UXtifZeXioDizcNeSk6PV5rcBO1lniR9szq53zMODX3vG5c6XfmesAGVwWxTLtwdbgc2mDzob_Sr458k_FtOhFar7JvUjOS70H4dKkqtaMAYqhEo7uJJ_hyphenhyphenCk/s400/Naked+La+Stampa+Ad+1972b.png" /></a></div>
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Alfonso Brescia's <i>Naked Girl Killed in Park...</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjolFze83CYUdWYrxhka5PlXyfUxLfsBhGeXrkMTsDw9jcIairiMEIVxXmd5LMSb-KeN_CW6nWxpVn1-QfZte8_O3ZMCw73M3yeIkzpP8UpWPBjDl0E6Vt9peS25VsR5PRQk3D50qgPA0U/s1600/Bogeyman+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjolFze83CYUdWYrxhka5PlXyfUxLfsBhGeXrkMTsDw9jcIairiMEIVxXmd5LMSb-KeN_CW6nWxpVn1-QfZte8_O3ZMCw73M3yeIkzpP8UpWPBjDl0E6Vt9peS25VsR5PRQk3D50qgPA0U/s400/Bogeyman+La+Stampa+Ad+1972b.png" /></a></div>
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Ferdinando Merighi's <i>The French Sex Murders</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDimxfNbs5ZDH83mKeOnN1WOjBH7u_MN28_4gFk-oreRp1fDbrmi7I7bksEHxxUJLnOtsSpOwg-gbsknWAts92KhxEIXCNcq66LSMH8KxUL1LR6m7mqWLAHh-JRpiWVY28Yvbm0WeZYig/s1600/Iris+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDimxfNbs5ZDH83mKeOnN1WOjBH7u_MN28_4gFk-oreRp1fDbrmi7I7bksEHxxUJLnOtsSpOwg-gbsknWAts92KhxEIXCNcq66LSMH8KxUL1LR6m7mqWLAHh-JRpiWVY28Yvbm0WeZYig/s400/Iris+La+Stampa+Ad+1972.png" /></a></div>
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Giuliano Carnimeo's <i>The Case of the Bloody Iris</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxNBxFQwf9wjxGqHSX92KGYrde1egFZ-bcY6fOsHtuxb6Mk8q7cKJQDXCT-h70Y8N6kUw8qAjZ8syD3MMvc5ZP3rZqeO3IzJ_NAe5EazvbaYVaAMRgqrueGbPtxBVDT20z6PR3M_8ImA/s1600/Gently+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxNBxFQwf9wjxGqHSX92KGYrde1egFZ-bcY6fOsHtuxb6Mk8q7cKJQDXCT-h70Y8N6kUw8qAjZ8syD3MMvc5ZP3rZqeO3IzJ_NAe5EazvbaYVaAMRgqrueGbPtxBVDT20z6PR3M_8ImA/s400/Gently+La+Stampa+Ad+1972.png" /></a></div>
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Sergio Martino's <i>Your Vice Is a Locked Room and Only I Have the Key</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1O6Glifzihv-QC38ar6bbyOYiMOJLTGIwwo6RimQI6MsoIjFyRhkUnnx4jQl9vnm9YUBVKf08bm62KVfRbNHrJY_zDwfewZ1SM8X3jFRurW9oVliTDmNhk4C78V_tJRxHvSxS-JKx9xQ/s1600/Slasher+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1O6Glifzihv-QC38ar6bbyOYiMOJLTGIwwo6RimQI6MsoIjFyRhkUnnx4jQl9vnm9YUBVKf08bm62KVfRbNHrJY_zDwfewZ1SM8X3jFRurW9oVliTDmNhk4C78V_tJRxHvSxS-JKx9xQ/s400/Slasher+La+Stampa+Ad+1972c.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTWdiFsRtxn4SisHCPQH46tL2vnbOMW7jwwakKTEVrm2kvYqaGI-8rBMxDk5NUaQId5Td_0HalKhmSCsT23k3dOBlcdVU0gBjxbWQa46fzA4vB63xtX88jyH-fwyCvEHzLAbfUSTQ8w9c/s1600/Slasher+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTWdiFsRtxn4SisHCPQH46tL2vnbOMW7jwwakKTEVrm2kvYqaGI-8rBMxDk5NUaQId5Td_0HalKhmSCsT23k3dOBlcdVU0gBjxbWQa46fzA4vB63xtX88jyH-fwyCvEHzLAbfUSTQ8w9c/s400/Slasher+La+Stampa+Ad+1972b.png" /></a></div>
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Roberto Bianchi Montero's <i>So Sweet, So Dead</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1DnDMTMoEpPeGdc8byTbF2hoQwD4grjHU_ycfMCiwoP-BoWfKJczcBVtZouHnwECe7pj7DLIOORTVJQkVk5Q00YMf2aA1RvQf0seJ5A6YXnsioDwQ2VnNrkGjHxlpC8r-LjWdcoRJPk/s1600/Cat+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1DnDMTMoEpPeGdc8byTbF2hoQwD4grjHU_ycfMCiwoP-BoWfKJczcBVtZouHnwECe7pj7DLIOORTVJQkVk5Q00YMf2aA1RvQf0seJ5A6YXnsioDwQ2VnNrkGjHxlpC8r-LjWdcoRJPk/s400/Cat+La+Stampa+Ad+1972.png" /></a></div>
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Sergio Pastore's <i>The Crimes of the Black Cat</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhqNvbHXVAXFp7E4d70vs56JC5VusIMPBX7Vo1aXUgGbyLjL18t8CkSVjA2q_444IL8tXo8IPXqy__Z6EelNNd3KgRM0bMJ3Apmi8x5_su7CoQIW3NdZyk7xQ6RnDXg081xpI2Ng40YQ/s1600/Queen+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhqNvbHXVAXFp7E4d70vs56JC5VusIMPBX7Vo1aXUgGbyLjL18t8CkSVjA2q_444IL8tXo8IPXqy__Z6EelNNd3KgRM0bMJ3Apmi8x5_su7CoQIW3NdZyk7xQ6RnDXg081xpI2Ng40YQ/s400/Queen+La+Stampa+Ad+1972.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZoMgbEUZ7NLFubi68M8DP35Kci2fVncAi-nfOvck8UMCMA3WY6NWceBimADsrt0oVivCgzTeVZgJ0dHxAJUIF8fQ6Z2aUjkYYBIa9aOndjW1O8jriFhTazMdBkOSjD6bsxjnbJc1B50/s1600/Queen+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZoMgbEUZ7NLFubi68M8DP35Kci2fVncAi-nfOvck8UMCMA3WY6NWceBimADsrt0oVivCgzTeVZgJ0dHxAJUIF8fQ6Z2aUjkYYBIa9aOndjW1O8jriFhTazMdBkOSjD6bsxjnbJc1B50/s400/Queen+La+Stampa+Ad+1972c.png" /></a></div>
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Emilio P. Miraglia's <i>The Lady in Red Kills Seven Times</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2P3sO3161HaJQqJaz6KwRPYLLdV8WjMBhUuzuCKINLHe11Rs6uhAmQJvCn2M-fxKDbmjG7BAkovWf-VLVIj7fJCQooC8Ww9byqpkxcnFOyP1pa5HdyqhPFOx7eTAqb2ygOqsxJo1WlM/s1600/Don't+Torture+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2P3sO3161HaJQqJaz6KwRPYLLdV8WjMBhUuzuCKINLHe11Rs6uhAmQJvCn2M-fxKDbmjG7BAkovWf-VLVIj7fJCQooC8Ww9byqpkxcnFOyP1pa5HdyqhPFOx7eTAqb2ygOqsxJo1WlM/s400/Don't%2BTorture%2BLa%2BStampa%2BAd%2B1972.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQoOptrcRE0FDWsmiTnaUaMghbHxA2mAI8C4rkOsLTRqntZysHNRSC7SI_ovLrIb4nESrW2w8E_3M7jt3UAkhNTR5JlCjtjQtY2TgzG4-7XDGNB1tR7JZnOL5u-4hRUaXoIyAxc5cJt0I/s1600/Don't+Torture+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQoOptrcRE0FDWsmiTnaUaMghbHxA2mAI8C4rkOsLTRqntZysHNRSC7SI_ovLrIb4nESrW2w8E_3M7jt3UAkhNTR5JlCjtjQtY2TgzG4-7XDGNB1tR7JZnOL5u-4hRUaXoIyAxc5cJt0I/s400/Don't%2BTorture%2BLa%2BStampa%2BAd%2B1972b.png" /></a></div>
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Lucio Fulci's <i>Don't Torture a Duckling</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnnp16AveATfmUioblnNioVnA6HJ64yFoohTHqfszl_8OOLSogzJWKV-C0PNaN_z3JNGLzMpSm0Ic1NYTj8uPJFDjYTARALdBzGZke5wI1rmAfaKWXwFXDiXeWqwRmapmaGc_XiT-A2g/s1600/Tropic+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnnp16AveATfmUioblnNioVnA6HJ64yFoohTHqfszl_8OOLSogzJWKV-C0PNaN_z3JNGLzMpSm0Ic1NYTj8uPJFDjYTARALdBzGZke5wI1rmAfaKWXwFXDiXeWqwRmapmaGc_XiT-A2g/s400/Tropic+La+Stampa+Ad+1972.png" /></a></div>
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Giampaolo Lomi and Edorado Mulargia's <i>Tropic of Cancer</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDvUOmrllRld-PCS_WJZCAd50Ggrj9aDLP-rLEm5PnLtox3Cy6bItF20-H_Rq5OBOWiIyT57CapWLWyu9cQ-CFUMbI_0PmSTETFuiJgw1066_wKvD7oo0UADXjPfHataQqIu6yTTp-3w/s1600/Phone+La+Stampa+Ad+1972b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDvUOmrllRld-PCS_WJZCAd50Ggrj9aDLP-rLEm5PnLtox3Cy6bItF20-H_Rq5OBOWiIyT57CapWLWyu9cQ-CFUMbI_0PmSTETFuiJgw1066_wKvD7oo0UADXjPfHataQqIu6yTTp-3w/s400/Phone+La+Stampa+Ad+1972b.png" /></a></div>
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Alberto De Martino's <i>The Killer is on the Phone</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilA4IZbOJXlXDqWQJFP97HenCrl2pvT3yQHliszp402GGDGrHKuetSkiWT3UWmg4yn6i7nur0L2J-ZKj0H5w5TKZIvoT4tvqBqr89jZWnt8WqmLdfM8L-0jWxXXofwhLDE-EbvyjXtDO0/s1600/Carresses+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilA4IZbOJXlXDqWQJFP97HenCrl2pvT3yQHliszp402GGDGrHKuetSkiWT3UWmg4yn6i7nur0L2J-ZKj0H5w5TKZIvoT4tvqBqr89jZWnt8WqmLdfM8L-0jWxXXofwhLDE-EbvyjXtDO0/s400/Carresses+La+Stampa+Ad+1972.png" /></a></div>
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Luciano Ercoli's <i>Death Caresses at Midnight</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhapDHY3aQqOqn4AiECpjAGQAHodWf4rSXWQAhNlmI2dZZ0MO0QpssnuOD-s4J48k94oxSj8FIcSKhVVZsNHln3MUXNLFR3wAwN_Ts04r0FhxJQnzV-ak_fZJ94Pxh66zD-3gwauTBN91s/s1600/Weapon+La+Stampa+Ad+1973.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhapDHY3aQqOqn4AiECpjAGQAHodWf4rSXWQAhNlmI2dZZ0MO0QpssnuOD-s4J48k94oxSj8FIcSKhVVZsNHln3MUXNLFR3wAwN_Ts04r0FhxJQnzV-ak_fZJ94Pxh66zD-3gwauTBN91s/s400/Weapon+La+Stampa+Ad+1973.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxHB0twdCy8UeLC2fO3J5vOPwuZNx62LGE1lPbvSBOzoSMHJA2HuUakQVFI1Z0s4FZy9sMHEEhlYJiWEsZaxYvujGaTbDHc1akyHl6e7zOxTvPKL4ILSYxXuCDJM5QPCti8N35rCia4UI/s1600/Weapon+La+Stampa+Ad+1973b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxHB0twdCy8UeLC2fO3J5vOPwuZNx62LGE1lPbvSBOzoSMHJA2HuUakQVFI1Z0s4FZy9sMHEEhlYJiWEsZaxYvujGaTbDHc1akyHl6e7zOxTvPKL4ILSYxXuCDJM5QPCti8N35rCia4UI/s400/Weapon+La+Stampa+Ad+1973b.png" /></a></div>
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Francesco Mazzei's <i>The Weapon, the Hour, the Motive</i> (1972)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zg97HRmDAp0G_bP7zQYnbtozZnMmAhlDCXWlOafK43izznrCKh4LyKAOkjLUiTZmQdOp5Oxhurzmx2eKXalDYpDCJXpLkmw2jU-7P-ax0JdTDTgvKv2UqdrbZ1GKuAlOvX3P6ro1Ldc/s1600/Torso+La+Stampa+Ad+1973b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4zg97HRmDAp0G_bP7zQYnbtozZnMmAhlDCXWlOafK43izznrCKh4LyKAOkjLUiTZmQdOp5Oxhurzmx2eKXalDYpDCJXpLkmw2jU-7P-ax0JdTDTgvKv2UqdrbZ1GKuAlOvX3P6ro1Ldc/s400/Torso+La+Stampa+Ad+1973b.png" /></a></div>
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Sergio Martino's <i>Torso</i> (1973)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBpZcTfGqrLtpD7tJVeS2gbvGW_sBsJct2eBvOSQYHu37EEs2ZLtOAS74guCYLfgBhE4sTNBnqDP-YtzU_X6JGn17M_iFCd3LvNCjK7MsRcKr2W_vdoYGNisWjS0-KH8jcSYmujhGc7ds/s1600/Cane+La+Stampa+Ad+1973.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBpZcTfGqrLtpD7tJVeS2gbvGW_sBsJct2eBvOSQYHu37EEs2ZLtOAS74guCYLfgBhE4sTNBnqDP-YtzU_X6JGn17M_iFCd3LvNCjK7MsRcKr2W_vdoYGNisWjS0-KH8jcSYmujhGc7ds/s400/Cane+La+Stampa+Ad+1973.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrROBhyprYnCs0XVnDU_V6jqCnHUD85VoWTM9vkFycPl9gJpIhyphenhyphenIaaN97TDo61x2OEHymrU8I2O8R5wCuPP9tcGpvVBphT0PGpMwcH-7a3v3c6TRQcr87O82lsuDmBh5Qk4hBRekxTGI/s1600/Cane+La+Stampa+Ad+1973c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrROBhyprYnCs0XVnDU_V6jqCnHUD85VoWTM9vkFycPl9gJpIhyphenhyphenIaaN97TDo61x2OEHymrU8I2O8R5wCuPP9tcGpvVBphT0PGpMwcH-7a3v3c6TRQcr87O82lsuDmBh5Qk4hBRekxTGI/s400/Cane+La+Stampa+Ad+1973c.png" /></a></div>
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Maurizio Pradeaux's <i>Death Carries a Cane</i> (1973)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZwis8xcP-XKtFCH7iKkkf1Tn_V8YWPZJrEGoDRRKJYixOsPIek5SLNpqFrhHLP9ZYE4AUM0IKnN-PeGopVvZ4MY_q58wKfGtPZWWTDQWKFZWbeVWSLgQxc2e6An8XH1uQpzrxl07kkn4/s1600/Seven+La+Stampa+Ad+1973b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZwis8xcP-XKtFCH7iKkkf1Tn_V8YWPZJrEGoDRRKJYixOsPIek5SLNpqFrhHLP9ZYE4AUM0IKnN-PeGopVvZ4MY_q58wKfGtPZWWTDQWKFZWbeVWSLgQxc2e6An8XH1uQpzrxl07kkn4/s400/Seven+La+Stampa+Ad+1973b.png" /></a></div>
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Antonio Margheriti's <i>Seven Deaths in the Cat's Eyes</i> (1973)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzKk6j6V7X5hmMbQb23A694q8R8gJOXfXKCQuuqBDhjLzlp2c7V850Ya3Pal0tLhrLtPYLUZWnYbtOBfo64LLuH8YoWb5fza_sKYN16f2oLcyPMn-mIavXgGwr6oHkkl-hTx8NSxN8ag/s1600/Flower+La+Stampa+Ad+1973.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzKk6j6V7X5hmMbQb23A694q8R8gJOXfXKCQuuqBDhjLzlp2c7V850Ya3Pal0tLhrLtPYLUZWnYbtOBfo64LLuH8YoWb5fza_sKYN16f2oLcyPMn-mIavXgGwr6oHkkl-hTx8NSxN8ag/s400/Flower+La+Stampa+Ad+1973.png" /></a></div>
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Gianfranco Piccioli's <i>The Flower with the Deadly Sting</i> (1973)
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-61399789779732305242014-12-06T15:51:00.001-08:002014-12-08T05:31:58.522-08:00Giallo newspaper ads - Part 1<br />
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If you have been following this blog you may remember that last year I made a <b><a href="http://euro-fever.blogspot.no/2013/02/newspaper-clippings-of-sexy-euro.html">post</a></b> featuring old newspaper clippings of various Euro actresses published in the <i>La Stampa</i> newspaper. But there are tons of other goodies waiting to be discovered in the <i>La Stampa</i> archives for anyone who's up to browsing through thousands of pages. One of the many cool things you can find there are great little cinema ads, and without further ado, here is a selection of gorgeous giallo ads from the period 1969-71:
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJrsRH03nKIEKic5uoTkey7pd3xX86CPewxSfLkv6rFxYwC22nPbzbfFQI7-3wd5y1MR0LH1YJOLgCCpeq81qfCoT4-tUc7Pgx3O2T8L4Wmcd0clICICjiDndGYLgzvi4J-UlRYoQRjY/s1600/Face+La+Stampa+Ad+1969.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJrsRH03nKIEKic5uoTkey7pd3xX86CPewxSfLkv6rFxYwC22nPbzbfFQI7-3wd5y1MR0LH1YJOLgCCpeq81qfCoT4-tUc7Pgx3O2T8L4Wmcd0clICICjiDndGYLgzvi4J-UlRYoQRjY/s400/Face+La+Stampa+Ad+1969.png" /></a></div>
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Riccardo Freda's <i>Double Face</i> (1969)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBIfup5rhdUcN339HyhiLqiSx_VYBgVo8cp98qeYFRdzsIDQ0Punm-hDv1YTHjDeup2tf2GxJ9ful9hJvSpm3brgg7L-ZABg1sX2X_DbGk7kjpC7uipccY6B5f_gy7ZfOLC5bA9vbdgk/s1600/One+On+Top+La+Stampa+Ad+1969.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBIfup5rhdUcN339HyhiLqiSx_VYBgVo8cp98qeYFRdzsIDQ0Punm-hDv1YTHjDeup2tf2GxJ9ful9hJvSpm3brgg7L-ZABg1sX2X_DbGk7kjpC7uipccY6B5f_gy7ZfOLC5bA9vbdgk/s400/One+On+Top+La+Stampa+Ad+1969.png" /></a></div>
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Lucio Fulci's <i>One on Top of the Other</i> (1969)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilUj_YE_JHGrV6VF_x0oIwDkPcarmMUu5t5N70Rkj-Rg4EzSTUtWh5LwUlwehBlBWcPXgwpPEx8_E2JW6-6v7txOfad8y8tGYqS_P5sHnCP6OHly9ZyniMQx-IEMWBIvAJiFqOzVjD2kg/s1600/So+Sweet+So+Perverse+La+Stampa+Ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilUj_YE_JHGrV6VF_x0oIwDkPcarmMUu5t5N70Rkj-Rg4EzSTUtWh5LwUlwehBlBWcPXgwpPEx8_E2JW6-6v7txOfad8y8tGYqS_P5sHnCP6OHly9ZyniMQx-IEMWBIvAJiFqOzVjD2kg/s400/So+Sweet+So+Perverse+La+Stampa+Ad.png" /></a></div>
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Umberto Lenzi's <i>So Sweet... So Perverse</i> (1969)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv6nuwR0F1kZZhQpNvV_fR5Tl9gCh55Y37EBXwtS0RuDDYHhzB9Sac5GDz4WmM_2gJyOTrpcSaar6TkjSnTiRgTWVPoVzv0jCYNN9J6w1TQ3w_zBunXxkjyyy1xJMyqN_uIzokeJTWrLo/s1600/Interrabang+La+Stampa+Ad+1970b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv6nuwR0F1kZZhQpNvV_fR5Tl9gCh55Y37EBXwtS0RuDDYHhzB9Sac5GDz4WmM_2gJyOTrpcSaar6TkjSnTiRgTWVPoVzv0jCYNN9J6w1TQ3w_zBunXxkjyyy1xJMyqN_uIzokeJTWrLo/s400/Interrabang+La+Stampa+Ad+1970b.png" /></a></div>
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Giuliano Biagetti's <i>Interrabang</i> (1969)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpobZpnH_rUoVvARWltroAF4VttKEqSqcoXlnUP6Pn7aIXDUk6YtmZPRMffUlWBjmiXbLsQh5B1D1z85a8GENr5yVca7tunooI82Xy588OLBOCCBzyrXNva8-r26LYoNmopqIUq6bMPTo/s1600/Five+Dolls+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpobZpnH_rUoVvARWltroAF4VttKEqSqcoXlnUP6Pn7aIXDUk6YtmZPRMffUlWBjmiXbLsQh5B1D1z85a8GENr5yVca7tunooI82Xy588OLBOCCBzyrXNva8-r26LYoNmopqIUq6bMPTo/s400/Five+Dolls+La+Stampa+Ad+1970.png" /></a></div>
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Mario Bava's <i>Five Dolls for an August Moon</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3FyH-JrdTIw8BYoJyjgBjIH9VovaLw-wpNs9-wFS-V-Z6AJcRInXiUtzxM8jOfRW72GKdLXrvH-GST2l_TXoRB-bsgDXSmbBrsTr_LeMGk-7iHn3-Uo1hlFuzmOfdGZK8B5YBJI7LYkQ/s1600/Bird+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3FyH-JrdTIw8BYoJyjgBjIH9VovaLw-wpNs9-wFS-V-Z6AJcRInXiUtzxM8jOfRW72GKdLXrvH-GST2l_TXoRB-bsgDXSmbBrsTr_LeMGk-7iHn3-Uo1hlFuzmOfdGZK8B5YBJI7LYkQ/s400/Bird+La+Stampa+Ad+1970.png" /></a></div>
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Dario Argento's <i>The Bird with the Crystal Plumage</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSPyF011jYPx2swysKepmjWYhyphenhyphenljxcWaZAb11QiqwxEriWUIXBsQCQX-87-bs_2ByTtvpeSVbTO2IzkBhAS90soDTeR4StZ4x7eCLcCfbw-ZELpYx9hc3AA08uv2kH5jB3I0zppJt1I5g/s1600/Paranoia+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSPyF011jYPx2swysKepmjWYhyphenhyphenljxcWaZAb11QiqwxEriWUIXBsQCQX-87-bs_2ByTtvpeSVbTO2IzkBhAS90soDTeR4StZ4x7eCLcCfbw-ZELpYx9hc3AA08uv2kH5jB3I0zppJt1I5g/s400/Paranoia+La+Stampa+Ad+1970.png" /></a></div>
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Umberto Lenzi's <i>A Quiet Place to Kill</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLLcFtcwj9xt-19YEYq55hmtVtB2EoT0055wmkm07fD_sXzYZQItcvTCAE3fuHRCmjappFOQpgIittI4VDAGfhpjp7A40IEQNZXZwyxMibmiph5m8BZD6quRcwLfBOxWzrr26nUw5tL20/s1600/Folds+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLLcFtcwj9xt-19YEYq55hmtVtB2EoT0055wmkm07fD_sXzYZQItcvTCAE3fuHRCmjappFOQpgIittI4VDAGfhpjp7A40IEQNZXZwyxMibmiph5m8BZD6quRcwLfBOxWzrr26nUw5tL20/s400/Folds+La+Stampa+Ad+1971.png" /></a></div>
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Sergio Bergonzelli's <i>In the Folds of the Flesh</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ3d1QB2w-DE0HgrrNeV3a17-kA46rsU14Tjx_HiInpVqYq6WlWBfMTw0sxr1Co4mZrxvy_-m-nUvQynAVJ5zeUKziNN0ie3zVFhVyaPP1mj91HdYXyiaO4SXoeoWXrxtlnS_smjq9fo/s1600/Occurred+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ3d1QB2w-DE0HgrrNeV3a17-kA46rsU14Tjx_HiInpVqYq6WlWBfMTw0sxr1Co4mZrxvy_-m-nUvQynAVJ5zeUKziNN0ie3zVFhVyaPP1mj91HdYXyiaO4SXoeoWXrxtlnS_smjq9fo/s400/Occurred+La+Stampa+Ad+1970.png" /></a></div>
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Duccio Tessari's <i>Death Occurred Last Night</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8U0ctnwMBaNIxwXp38fynyHA3jo9fYyxHNu0MUmxJ1j3mIww-6ombhKHRU8A6ia6wVJh9dD-EqSjD8KChzvlx7eIuPyPicEP3RhT9dnmlXmOj8kkJGRGcfqECv5QDZiV5b1MNhyVS_c/s1600/Weekend+Murders+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju8U0ctnwMBaNIxwXp38fynyHA3jo9fYyxHNu0MUmxJ1j3mIww-6ombhKHRU8A6ia6wVJh9dD-EqSjD8KChzvlx7eIuPyPicEP3RhT9dnmlXmOj8kkJGRGcfqECv5QDZiV5b1MNhyVS_c/s400/Weekend+Murders+La+Stampa+Ad+1970.png" /></a></div>
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Michele Lupo's <i>The Weekend Murders</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8yMBFf4x2jhRnJEFIoQh9f02Ax41yH-IIFpPrkX7EguaJI3sViZwHI-QSRKEL6aHaohrhOrmUpjRaOGCaG_A2vKRRjcQVoxT1tIDkbVf6lKAE1A1602Ts_Gltc6m3WLcybe7JnTVK6RE/s1600/Forbidden+La+Stampa+Ad+1970.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8yMBFf4x2jhRnJEFIoQh9f02Ax41yH-IIFpPrkX7EguaJI3sViZwHI-QSRKEL6aHaohrhOrmUpjRaOGCaG_A2vKRRjcQVoxT1tIDkbVf6lKAE1A1602Ts_Gltc6m3WLcybe7JnTVK6RE/s400/Forbidden+La+Stampa+Ad+1970.png" /></a></div>
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Luciano Ercoli's <i>The Forbidden Photos of a Lady Above Suspicion</i> (1970)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS21BodlTzYlHBnImilL81qfB99xRDN646GKyfdSpjejDpMZq0rLe95jd31czXtPQXEMR23uAkcuk5VxRU1BfUHEZGWMfvsWUtZI8SlWMcHwK64PeD2Qgtu3WPpCowGQezZ72Ixla87nE/s1600/Wardh+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS21BodlTzYlHBnImilL81qfB99xRDN646GKyfdSpjejDpMZq0rLe95jd31czXtPQXEMR23uAkcuk5VxRU1BfUHEZGWMfvsWUtZI8SlWMcHwK64PeD2Qgtu3WPpCowGQezZ72Ixla87nE/s400/Wardh+La+Stampa+Ad+1971.png" /></a></div>
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Sergio Martino's <i>The Strange Vice of Mrs. Wardh</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4DDth6d8PXreNoCNPhcyFPFVAFbU8jmf53xVMpaAaA2esz2bngRK4o90x3QJOKFPczECIt0hNFxpOZmkk_mMVbSQBDrwRRu2iljgEpdamuE3s5SbYpM5kDOUoQY75gbmudGbJqhSCnVs/s1600/Cat+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4DDth6d8PXreNoCNPhcyFPFVAFbU8jmf53xVMpaAaA2esz2bngRK4o90x3QJOKFPczECIt0hNFxpOZmkk_mMVbSQBDrwRRu2iljgEpdamuE3s5SbYpM5kDOUoQY75gbmudGbJqhSCnVs/s400/Cat+La+Stampa+Ad+1971.png" /></a></div>
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Dario Argento's <i>The Cat o' Nine Tails</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdbEpeCkSbintMKVF_F8JGZMc-RaTZCGObpYmztrDC8-746i5UsrrzlH6a1VaJy8UBf5hZwN9YraXBP9DJMLIu648JW9ujz6_P0D4Yle-L1nFGrmd7AfK2Dh5QRa6vmRSnlYHtZcqFpeU/s1600/Lizard+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdbEpeCkSbintMKVF_F8JGZMc-RaTZCGObpYmztrDC8-746i5UsrrzlH6a1VaJy8UBf5hZwN9YraXBP9DJMLIu648JW9ujz6_P0D4Yle-L1nFGrmd7AfK2Dh5QRa6vmRSnlYHtZcqFpeU/s400/Lizard+La+Stampa+Ad+1971.png" /></a></div>
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Lucio Fulci's <i>A Lizard in a Woman's Skin</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRKAAkjlEd7_p2YOr-bXbQ4X2OBd2I-NbPt4B1a2IZkTDq2h4pnBZaMN1k4RCBrl2fb0n-_cdj74ggWpQQjbVX9gYdfggey9ijkg2K8aNKjBKT4xRpIDZxUDqJHYwa7Kfv1Ym-xsL15Y8/s1600/Icy+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRKAAkjlEd7_p2YOr-bXbQ4X2OBd2I-NbPt4B1a2IZkTDq2h4pnBZaMN1k4RCBrl2fb0n-_cdj74ggWpQQjbVX9gYdfggey9ijkg2K8aNKjBKT4xRpIDZxUDqJHYwa7Kfv1Ym-xsL15Y8/s400/Icy+La+Stampa+Ad+1971.png" /></a></div>
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Alberto De Martino's <i>The Man with Icy Eyes</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjINs1BzkSwcyJtHEJfmGLoPYWX_2YF00RrBKxN0na1h8B2f-Ol1bC3cOZoCCVuuiK0Rd71LP2BuDW-I_NdSjEgYVTNMWTmmsIxGqjtR7srGw8fqdFu4UMdBIegcVkQmk7uu9oROlPZmc4/s1600/Designated+La+Stampa+Ad+1971c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjINs1BzkSwcyJtHEJfmGLoPYWX_2YF00RrBKxN0na1h8B2f-Ol1bC3cOZoCCVuuiK0Rd71LP2BuDW-I_NdSjEgYVTNMWTmmsIxGqjtR7srGw8fqdFu4UMdBIegcVkQmk7uu9oROlPZmc4/s400/Designated+La+Stampa+Ad+1971c.png" /></a></div>
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Maurizio Lucidi's <i>The Designated Victim</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dXUQ-dpidOYQrtBn7rdfqIDXWfF1iHkBXWSxOOtdWMkFzyZ6XE1AFBWUKtY9OLe3_vf3zYmCeeHbmhphqTl5d-eGrkKhFdW44wBt3DmiQfm8y1j7cy8fP1IfGFN5HhVf-jw-QnIZAas/s1600/Hurricane+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dXUQ-dpidOYQrtBn7rdfqIDXWfF1iHkBXWSxOOtdWMkFzyZ6XE1AFBWUKtY9OLe3_vf3zYmCeeHbmhphqTl5d-eGrkKhFdW44wBt3DmiQfm8y1j7cy8fP1IfGFN5HhVf-jw-QnIZAas/s400/Hurricane+La+Stampa+Ad+1971.png" /></a></div>
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José María Forqué's <i>In the Eye of the Hurricane</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhniAIqOlQVja-_pr7hWnYNWGr1-D-JHM9elx6C_1xvm-DuQx_y-dCQqNjOJY18GrEH4LNbV6vH6ySgCy2bAv5VZ_qmIr7AXpFCp1UGKthmZGGkk-ISfNqho3Ny2nRppNaZ7vn1kLaFHXE/s1600/Slaughter+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhniAIqOlQVja-_pr7hWnYNWGr1-D-JHM9elx6C_1xvm-DuQx_y-dCQqNjOJY18GrEH4LNbV6vH6ySgCy2bAv5VZ_qmIr7AXpFCp1UGKthmZGGkk-ISfNqho3Ny2nRppNaZ7vn1kLaFHXE/s400/Slaughter+La+Stampa+Ad+1971b.png" /></a></div>
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Fernando Di Leo's <i>Slaughter Hotel</i> (1971)
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Bitto Albertini's <i>Human Cobras</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6g-WsImDFWyVV5Rj0mJBssmRszrKUkN2WeTYdqie8Gs6r-5ZV2fznVIbyL1t6JJm2hk39MMm2L0vQPkfYkl48io-sppVDk_OlochAQlHihPLoKY7cSHVY98eGyW6IlpVSiqCC3EjC4Wg/s1600/Tarantula+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6g-WsImDFWyVV5Rj0mJBssmRszrKUkN2WeTYdqie8Gs6r-5ZV2fznVIbyL1t6JJm2hk39MMm2L0vQPkfYkl48io-sppVDk_OlochAQlHihPLoKY7cSHVY98eGyW6IlpVSiqCC3EjC4Wg/s400/Tarantula+La+Stampa+Ad+1971.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmvzFks3TmzDaUuaRM3gN1kMpkbPU3QLllgXIAOAu1Kz1vUzD68ikXQRW6SPoYJ_6KKLsNwVgsrWeccP-9BH9JiZMzvxr-ZvPoThCcRtzgmMhJ71rGnb9y8WZwknvjZwJxN2SAwOkKiB0/s1600/Tarantula+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmvzFks3TmzDaUuaRM3gN1kMpkbPU3QLllgXIAOAu1Kz1vUzD68ikXQRW6SPoYJ_6KKLsNwVgsrWeccP-9BH9JiZMzvxr-ZvPoThCcRtzgmMhJ71rGnb9y8WZwknvjZwJxN2SAwOkKiB0/s400/Tarantula+La+Stampa+Ad+1971b.png" /></a></div>
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Paolo Cavara's <i>The Black Belly of the Tarantula</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUYcEcNyPGolWUBrvtFZSqiHpkwwhTgme7nzdR_4Ri7vMrhiKc5rpH2LtHlYCduly9_D2fudAT03kImRgKshqPwr_m71mamSLeesQrruhFMyQsMUGSQMUu2bdLn7l9ZsUfk8sc8PDKuI/s1600/Scorpion+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUYcEcNyPGolWUBrvtFZSqiHpkwwhTgme7nzdR_4Ri7vMrhiKc5rpH2LtHlYCduly9_D2fudAT03kImRgKshqPwr_m71mamSLeesQrruhFMyQsMUGSQMUu2bdLn7l9ZsUfk8sc8PDKuI/s400/Scorpion+La+Stampa+Ad+1971.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUzoHGWn9wTOHsIt6vMtqRL0Cibk65ivlN58VLlDLWEwgM_rO6E3eBZvkjBiyc_n2IX3SgCUPw0SSUbe_ouhW1ug9Wn8YNjYJihd3BoH3Iyb1rICjPmL4mFzVBUJvc0VV2tu2eEoTXTU/s1600/Scorpion+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUzoHGWn9wTOHsIt6vMtqRL0Cibk65ivlN58VLlDLWEwgM_rO6E3eBZvkjBiyc_n2IX3SgCUPw0SSUbe_ouhW1ug9Wn8YNjYJihd3BoH3Iyb1rICjPmL4mFzVBUJvc0VV2tu2eEoTXTU/s400/Scorpion+La+Stampa+Ad+1971b.png" /></a></div>
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Sergio Martino's <i>The Case of the Scorpion's Tail</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZvc_DBqcAz75QhEf6tEQwucB-Lb7q_Me-_ALooGKPqtWfqvvrjeBg8_1OY38PYpFBvvT5FPqugkUm-7n-toCf3Ny4rSOJPPkOH5IN11EdDtBlshRJlF5LfLH0i8D5jZ-jWfsdIe9Hvk/s1600/Evelyn+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZvc_DBqcAz75QhEf6tEQwucB-Lb7q_Me-_ALooGKPqtWfqvvrjeBg8_1OY38PYpFBvvT5FPqugkUm-7n-toCf3Ny4rSOJPPkOH5IN11EdDtBlshRJlF5LfLH0i8D5jZ-jWfsdIe9Hvk/s400/Evelyn+La+Stampa+Ad+1971.png" /></a></div>
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Emilio P. Miraglia's <i>The Night Evelyn Came out of the Grave</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5-axV0hyphenhyphenr-baE9uu50JIePwCos95a0nYXKpcuVDmFGaWLYZMHM860w8dndaXeZiMsjLxoZ6orW2j4LPDiE2fC3au90JOvFiHsZ8Aoz-9v3JPwS3zjqyfsBCm-rVe5OIQjlH5JnzYQRI/s1600/Oasis+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5-axV0hyphenhyphenr-baE9uu50JIePwCos95a0nYXKpcuVDmFGaWLYZMHM860w8dndaXeZiMsjLxoZ6orW2j4LPDiE2fC3au90JOvFiHsZ8Aoz-9v3JPwS3zjqyfsBCm-rVe5OIQjlH5JnzYQRI/s400/Oasis+La+Stampa+Ad+1971.png" /></a></div>
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Umberto Lenzi's <i>The Oasis of Fear</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQLz1Vv6d4qgwOrW_eBvKOA_LX3W58DQnoJo7rmXPk9PKb2NplhhXJiW2VljB-_47ZvkJtonByeLHz4YV-S7aAd2ODP4vjpWCPm6kM3NXxvEZNURUaqbzqCSpviq_q6EGET-rb_aUcCw8/s1600/Current+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQLz1Vv6d4qgwOrW_eBvKOA_LX3W58DQnoJo7rmXPk9PKb2NplhhXJiW2VljB-_47ZvkJtonByeLHz4YV-S7aAd2ODP4vjpWCPm6kM3NXxvEZNURUaqbzqCSpviq_q6EGET-rb_aUcCw8/s400/Current+La+Stampa+Ad+1971b.png" /></a></div>
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Tonino Ricci's <i>Cross Current</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKmVJujsOAE0vb1-_ELl38xffkPWSKAhSUx5HQvHaA3H7FedAH8K-kp2RdnhwYeZaUZ2pHuAFcI_LCRHIMNpdgKAHNPzbLcek0dbx17pm5TS9ZJeQa81isRUnfGkW0brZm3omKFwGEa8/s1600/Iguana+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKmVJujsOAE0vb1-_ELl38xffkPWSKAhSUx5HQvHaA3H7FedAH8K-kp2RdnhwYeZaUZ2pHuAFcI_LCRHIMNpdgKAHNPzbLcek0dbx17pm5TS9ZJeQa81isRUnfGkW0brZm3omKFwGEa8/s400/Iguana+La+Stampa+Ad+1971.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi26387g3m-g5DORHW4yRPPBPxgzrF73m9CdquXGHngkkiYrb69p-VlH1r82260fX948NTBFUPuyHoinUY9RxVSiVa4bPB5LFq64r1NkQsN34lvE_Xge34mqF_JiDewE3phU6QUlse6WYM/s1600/Iguana+La+Stampa+Ad+1971c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi26387g3m-g5DORHW4yRPPBPxgzrF73m9CdquXGHngkkiYrb69p-VlH1r82260fX948NTBFUPuyHoinUY9RxVSiVa4bPB5LFq64r1NkQsN34lvE_Xge34mqF_JiDewE3phU6QUlse6WYM/s400/Iguana+La+Stampa+Ad+1971c.png" /></a></div>
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Riccardo Freda's <i>The Iguana with the Tongue of Fire</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJRmmoLBwz3KFqp-5xwS594HivNbUf8aq5KY5ejZN2RIpXxT7GeWK4xF6nvt4QAXJ-f7yXs2RxVSrnxpJ2ty-9O85Ee9Fb-ql7Bti-9p6bJvskwUt31gNt1YihGyuh4n6Ofat2GYJu7c/s1600/Cord+La+Stampa+Ad+1971d.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYJRmmoLBwz3KFqp-5xwS594HivNbUf8aq5KY5ejZN2RIpXxT7GeWK4xF6nvt4QAXJ-f7yXs2RxVSrnxpJ2ty-9O85Ee9Fb-ql7Bti-9p6bJvskwUt31gNt1YihGyuh4n6Ofat2GYJu7c/s400/Cord+La+Stampa+Ad+1971d.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5rh_LzPSl0Tla1LKB8duHi97Jt8Lsv6X2wmKWbSlfnt1DmGCRNMXLhYM8YMKXIo-clDGmoCyhUuMpdInbrZeMTG8i7hE0HwurhwvS2tzDj6byF_XKwE6FzJvB7rXeAGkVmIwZsSS80M/s1600/Cord+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5rh_LzPSl0Tla1LKB8duHi97Jt8Lsv6X2wmKWbSlfnt1DmGCRNMXLhYM8YMKXIo-clDGmoCyhUuMpdInbrZeMTG8i7hE0HwurhwvS2tzDj6byF_XKwE6FzJvB7rXeAGkVmIwZsSS80M/s400/Cord+La+Stampa+Ad+1971b.png" /></a></div>
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Luigi Bazzoni's <i>The Fifth Cord</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPb-OocnCZrWQEfRxP0jx3q4RBzFP1NYQVtukfpYmUJVn0EylU1D8TtDTDmePcIPCwc6tPo3Lm45ia2tOT47QHGqfdgkQXg72B-ls-Tc7JgvK6YJYbCHU8TkiTzskLSpeMuZjSJBQ7wa4/s1600/Double+La+Stampa+Ad+1972c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPb-OocnCZrWQEfRxP0jx3q4RBzFP1NYQVtukfpYmUJVn0EylU1D8TtDTDmePcIPCwc6tPo3Lm45ia2tOT47QHGqfdgkQXg72B-ls-Tc7JgvK6YJYbCHU8TkiTzskLSpeMuZjSJBQ7wa4/s400/Double+La+Stampa+Ad+1972c.png" /></a></div>
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Romolo Guerrieri's <i>The Double</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfvR_6GC9Knbv7s1JJudpETewxIXR5jJgPQAVKYboMlbSXylHd0_-kiEnNcrgRD1N0-iHQLgJPwmowOAODlBQ3LxDptHIBJPHNOn9kklQ6djEy_3sJiC5uZgOLoggp1mN6moIaC4LxCls/s1600/Butterfly+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfvR_6GC9Knbv7s1JJudpETewxIXR5jJgPQAVKYboMlbSXylHd0_-kiEnNcrgRD1N0-iHQLgJPwmowOAODlBQ3LxDptHIBJPHNOn9kklQ6djEy_3sJiC5uZgOLoggp1mN6moIaC4LxCls/s400/Butterfly+La+Stampa+Ad+1971.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOpHv4ibICDTLkU4jM3F1GDu5qgTe7HkHa3uRh2cmL9NS_yRaHriZ5uw7D1UaceDSvzjCQLvdx42Z3QxXFqR08QvKnMacZptM34fIWHKVnrbCpeNciV3ptxW8Zm85VnsvEtthEBrUXIM/s1600/Butterfly+La+Stampa+Ad+1971b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOpHv4ibICDTLkU4jM3F1GDu5qgTe7HkHa3uRh2cmL9NS_yRaHriZ5uw7D1UaceDSvzjCQLvdx42Z3QxXFqR08QvKnMacZptM34fIWHKVnrbCpeNciV3ptxW8Zm85VnsvEtthEBrUXIM/s400/Butterfly+La+Stampa+Ad+1971b.png" /></a></div>
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Duccio Tessari's <i>The Bloodstained Butterfly</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnpxbSXnRrm7OtcI1kaoRGeBjDzFq0ulCvPeDkG9B-bhDHqZ7N7N3eyuo57GkJwukNmOg-1JxhybSbCskMtIPbukRf6eFfj_ZaqsL2kNioWBChNOig-GsVSFmRb6IuiSa1dzPwx4ATdXo/s1600/Short+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnpxbSXnRrm7OtcI1kaoRGeBjDzFq0ulCvPeDkG9B-bhDHqZ7N7N3eyuo57GkJwukNmOg-1JxhybSbCskMtIPbukRf6eFfj_ZaqsL2kNioWBChNOig-GsVSFmRb6IuiSa1dzPwx4ATdXo/s400/Short+La+Stampa+Ad+1972.png" /></a></div>
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Aldo Lado's <i>Short Night of Glass Dolls</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBeyN5EcCRKsMwi6eKMY1Ux1akL2bu-LCj9z8KDywRuBlyBAM2Nu94Iozr0Yx0b_ZeNEAXDp8nM_WrESiV2PGoelkusrLsSJJ-vBzRMNgYKe8ybNKJPAJ7l0VO1SmO7vZQCpPmxbstxg/s1600/Stalks+La+Stampa+Ad+1971.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBeyN5EcCRKsMwi6eKMY1Ux1akL2bu-LCj9z8KDywRuBlyBAM2Nu94Iozr0Yx0b_ZeNEAXDp8nM_WrESiV2PGoelkusrLsSJJ-vBzRMNgYKe8ybNKJPAJ7l0VO1SmO7vZQCpPmxbstxg/s400/Stalks+La+Stampa+Ad+1971.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH31p28xNsMRIucLFbxW_wcEhat2LYNT_b5NTqW2hBQtMBqDhlEJVGVuxfWCmD4IYhSx8ztORTbB7XrqaT5wgOJTBXZjT9JbVwfNnS2aXuoNfGBzhDk_Mf1M_kZaJGMh-h6STm6kk0fP0/s1600/Stalks+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH31p28xNsMRIucLFbxW_wcEhat2LYNT_b5NTqW2hBQtMBqDhlEJVGVuxfWCmD4IYhSx8ztORTbB7XrqaT5wgOJTBXZjT9JbVwfNnS2aXuoNfGBzhDk_Mf1M_kZaJGMh-h6STm6kk0fP0/s400/Stalks+La+Stampa+Ad+1972.png" /></a></div>
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Luciano Ercoli's <i>Death Stalks on High Heels</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Hz6sGPSmVRXWw57a6qJD37F_A2FDK4hn_TTWlUzxOxt-e_3PZa923289Fk4A0VfhXHh3zG1wIQlQ76cAuoL8Vgt2Cz7P5fzTqL5kv8IePYYYpCnpR-1qZGtv-y9QRwQSDnH5L-f4-TM/s1600/Devil+Ad+La+Stampa+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Hz6sGPSmVRXWw57a6qJD37F_A2FDK4hn_TTWlUzxOxt-e_3PZa923289Fk4A0VfhXHh3zG1wIQlQ76cAuoL8Vgt2Cz7P5fzTqL5kv8IePYYYpCnpR-1qZGtv-y9QRwQSDnH5L-f4-TM/s400/Devil+Ad+La+Stampa+1972.png" /></a></div>
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Osvaldo Civirani's <i>The Devil with Seven Faces</i> (1971)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ6AIrVItv7rA25Xmr-ElS3wrAfujhH1NqCkD4mjnVYuaME2UkCgLAgchEjCIK3VOCTHkw0bd69ij9N-usxamQ3E1x2vGrhk-kNrp_jCi2q1OiEghBrhjlMW1XqOyGIDM0CQaPz9gxPw/s1600/Four+Flies+La+Stampa+Ad+1972.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ6AIrVItv7rA25Xmr-ElS3wrAfujhH1NqCkD4mjnVYuaME2UkCgLAgchEjCIK3VOCTHkw0bd69ij9N-usxamQ3E1x2vGrhk-kNrp_jCi2q1OiEghBrhjlMW1XqOyGIDM0CQaPz9gxPw/s400/Four+Flies+La+Stampa+Ad+1972.png" /></a></div>
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Dario Argento's <i>Four Flies on Grey Velvet</i> (1971)
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Stay tuned for part 2, which will feature giallo ads printed in <i>La Stampa</i> during the period 1972-73.</div>
Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-38874110234316540522014-12-01T11:26:00.000-08:002020-04-21T10:05:41.412-07:00The Crimes of the Black Cat/7 scialli di seta gialla<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh233gAwAFUIkJlQxh0IjjWuKwRSJMYdknZpQZ2H4_lFR2-I-go4ub5p_dU0pT1u8jbElmdLQHm9Z-pF6H4Gi1PfVQlnjjYhVZli8h_G1Nulab0CZgQXEJMsoUA6iV7pUPPeiP9qnVnRJ8/s1600/Black+Cat+-+Title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh233gAwAFUIkJlQxh0IjjWuKwRSJMYdknZpQZ2H4_lFR2-I-go4ub5p_dU0pT1u8jbElmdLQHm9Z-pF6H4Gi1PfVQlnjjYhVZli8h_G1Nulab0CZgQXEJMsoUA6iV7pUPPeiP9qnVnRJ8/s400/Black+Cat+-+Title.jpg"></a></div>
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<b>Italy, 1972
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Directed by Sergio Pastore
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Cast:
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Anthony Steffen, Shirley Corrigan, Sylva Koscina, Renato De Carmine, Giacomo Rossi Stuart, Umberto Raho, Jeannette Len [Giovanna Lenzi], Annabella Incontrera, Liliana Pavlo, Isabelle Marchall, Romano Malaspina, Imelde Marani, Margherita Horowitz, Bruno Alias</b>
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Back in the golden days of popular Italian cinema it was fairly common for filmmakers to attempt to mimic Hollywood conventions or to set the action in the US in hopes of capturing a larger audience by passing their films off as American productions. The giallo, however, was a never a part of this trend. On the contrary, a lot of gialli were set specifically in Italy, and proudly playing out their intricate plots in attractive and urbane Italian locations. There’s also a fair share of gialli which shift their plots to various colorful European cities, but far rarer are those curious occasions where one happens upon a giallo set in the most unusual and unexpected of locations, such as <i>The Iguana with the Tongue of Fire</i> (1971), which is set in Dublin; or <i>Human Cobras</i> (1971), which partially plays out in Kenya. Another giallo that features a similarly unexpected location is Sergio Pastore’s <i>The Crimes of the Black Cat</i>, which is set in the Danish capital of Copenhagen.
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The protagonist of the story is Peter Oliver (Anthony Steffen – dubbed by Edmund Purdom), a blind composer living in Copenhagen, where he makes a living by scoring violent horror movies. Peter is supposed to meet up with his girlfriend in a bar and while he’s waiting for her to show up, he overhears a strange, whispered conversation from the booth next to him. There’s an ominous tone to the conversation and from the fragments Peter is able to make out, it appears as though a woman is being blackmailed into committing a crime.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-21_FA7L19Gy38alpp2P0BWnlZIflnLKaKRkNeZJ4jB6Ni1Xq559qqQS_5LBnnFp9Jg56yd5EnTm-YZ_jrWz7sBxU7ZT1DUJKXU730aweFzP4pZzNni5_GgiRZb62i_paQ5EsB2GDyU/s1600/Black+Cat+-+Eavesdropping2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-21_FA7L19Gy38alpp2P0BWnlZIflnLKaKRkNeZJ4jB6Ni1Xq559qqQS_5LBnnFp9Jg56yd5EnTm-YZ_jrWz7sBxU7ZT1DUJKXU730aweFzP4pZzNni5_GgiRZb62i_paQ5EsB2GDyU/s400/Black+Cat+-+Eavesdropping2.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rsqI_MKzuRiDnbJjbyNaJhq2QIFJ95QhsBNS_UM7FSe3rujKR3ajz_Xj5ZRwRcD9JZaE67GpL3G_GNn4z7QwwJ0NV_OAemyvpydEPdLKWAxQJWmdT3StmQnWkXq_Ta40RCgARXfzc-0/s1600/Black+Cat+-+Eavesdropping3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rsqI_MKzuRiDnbJjbyNaJhq2QIFJ95QhsBNS_UM7FSe3rujKR3ajz_Xj5ZRwRcD9JZaE67GpL3G_GNn4z7QwwJ0NV_OAemyvpydEPdLKWAxQJWmdT3StmQnWkXq_Ta40RCgARXfzc-0/s400/Black+Cat+-+Eavesdropping3.jpg"></a></div>
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<i>Peter overhears a mysterious conversation</i>
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Unfortunately, a stoned-looking young woman suddenly fires up the jukebox and starts dancing wildly – preventing Peter from intercepting the rest of the conversation. By the time the music stops, the blackmailed woman is leaving in a hurry and Peter quickly summons a waiter and asks him to describe this mystery woman. Unfortunately, the waiter is only able to catch a quick glance of her and observe is that she is wearing a hooded white cape and has a slightly unsteady walk, whereas whoever was blackmailing her is already gone – leaving Peter with very little to go on.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6BgqJkTmozAPinSYnzhj3MFh_j-5AGxiu-W_42WxDopBM4NB-gcRFXgrOoMDfc9d7DdOq2sAGGmcucOIizYI1-4RK2n-wtEq0_QEmE0HvB_FswbKZXSze4-8vNJfQqOpHuhC8-yeQ14/s1600/Black+Cat+-+Jukebox.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6BgqJkTmozAPinSYnzhj3MFh_j-5AGxiu-W_42WxDopBM4NB-gcRFXgrOoMDfc9d7DdOq2sAGGmcucOIizYI1-4RK2n-wtEq0_QEmE0HvB_FswbKZXSze4-8vNJfQqOpHuhC8-yeQ14/s400/Black+Cat+-+Jukebox.jpg"></a></div>
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<i>Peter’s eavesdropping comes to an abrupt end when this free spirit chooses a particularly inopportune moment to put a record on</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhql9OXMaB2oUXqru81712C1L8FeuWtpHq-siKwMtiqqWgYR42L3aSELVCEhgK60OJk6Unyu_IRPYJoHY-ZvLAGKR-HQoGrnEgudCfzbnTGHSS1Hh7aiDOEB8IR7ukiGCd57-iq2G8Jao8/s1600/Black+Cat+-+Waiter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhql9OXMaB2oUXqru81712C1L8FeuWtpHq-siKwMtiqqWgYR42L3aSELVCEhgK60OJk6Unyu_IRPYJoHY-ZvLAGKR-HQoGrnEgudCfzbnTGHSS1Hh7aiDOEB8IR7ukiGCd57-iq2G8Jao8/s400/Black+Cat+-+Waiter.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-32WlyPOf12btxCcUDw02gmkPaxwAHLl7iAKNsgvFITpUWjSlLYxabW8BDvWsZHz6-rHxM-MnwAiaWyxWhZPCUW0AUaX4Qkm7mxxbU0Eu25Z-0N9zWK9Z574CY8X9UqS3S5lz5yNZg4/s1600/Black+Cat+-+Woman+In+White.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-32WlyPOf12btxCcUDw02gmkPaxwAHLl7iAKNsgvFITpUWjSlLYxabW8BDvWsZHz6-rHxM-MnwAiaWyxWhZPCUW0AUaX4Qkm7mxxbU0Eu25Z-0N9zWK9Z574CY8X9UqS3S5lz5yNZg4/s400/Black+Cat+-+Woman+In+White.jpg"></a></div>
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<i>A waiter vaguely describes the mysterious woman in white to Peter - providing a seemingly flimsy clue that, like always in these film, will prove to be of importance later on...</i>
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Peter is also handed a letter that his girlfriend, Paola (Isabelle Marchall), has left for him and in which she informs him that their relationship is over. But being blind and all, Peter has to get his trusted butler Burton (Umberto Raho – dubbed by John Karlsen) to read it out loud to him. Ouch!
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Paola is working as a model at a prestigious fashion house and when she arrives at her dressing room the next day, she finds a yellow silk shawl on her desk and a closed picnic basket on the floor. Paola wraps the shawl around her and then opens the mysterious basket – only to let out a bloodcurdling scream and slump to the floor. Alarmed by her screams, Paola’s colleagues come rushing and find her dead on the floor.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKXceeXsw0gtwwlBzLrCPBkDcNg2coDH-o8iWezo5uw9TFl4PzZ0EbKG_mhRFsdfBb9nYqzbK2tA9LBnS26MacwA2AWSl7IVxukyrT6XZZvgT_XcOeRr4hDpffJVikPN-UW2Zjm57X1Xc/s1600/Black+Cat+-+Basket1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKXceeXsw0gtwwlBzLrCPBkDcNg2coDH-o8iWezo5uw9TFl4PzZ0EbKG_mhRFsdfBb9nYqzbK2tA9LBnS26MacwA2AWSl7IVxukyrT6XZZvgT_XcOeRr4hDpffJVikPN-UW2Zjm57X1Xc/s400/Black+Cat+-+Basket1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGu1xTP0brcgefsMQ5qph2C8fqL6qmfrSddwj4irmvaf57eLNUc5lRgnLfGYjdlWdTzRka9s7Bd6TmuONFMO2Rt9Mvb5cZY_SDcTsUADLFTQjLAo7HZ3HZfAbF6BARVQ_oPsfHVXSF4aE/s1600/Black+Cat+-+Basket2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGu1xTP0brcgefsMQ5qph2C8fqL6qmfrSddwj4irmvaf57eLNUc5lRgnLfGYjdlWdTzRka9s7Bd6TmuONFMO2Rt9Mvb5cZY_SDcTsUADLFTQjLAo7HZ3HZfAbF6BARVQ_oPsfHVXSF4aE/s400/Black+Cat+-+Basket2.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-LA5MMm13kx_OFd-F1BCbkTKtTM_ejsBxrFWpC9M2QNIJFWWtVaRKjJr4yWfo5RcDO4QmMO-pT487QvMf8e-mI8ol2vHpSuwmScdW1BIcMkn57PgWF__1WaRd9T96Ii4fGkTfyYJvTM/s1600/Black+Cat+-+Basket3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_-LA5MMm13kx_OFd-F1BCbkTKtTM_ejsBxrFWpC9M2QNIJFWWtVaRKjJr4yWfo5RcDO4QmMO-pT487QvMf8e-mI8ol2vHpSuwmScdW1BIcMkn57PgWF__1WaRd9T96Ii4fGkTfyYJvTM/s400/Black+Cat+-+Basket3.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi920pKfHuVVihhHHw1vpe9IOkfLwMtcunEfPfDxiLnjO2oNGhpclOq5sns5uYgaxtqmhPCFafXfPO1fhA25_UZ7zNy_DuBaPbRFBvIGLZ4dou5tG5LmbUUl5z49UZIp6TlD4d_P-9ybIU/s1600/Black+Cat+-+Basket4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi920pKfHuVVihhHHw1vpe9IOkfLwMtcunEfPfDxiLnjO2oNGhpclOq5sns5uYgaxtqmhPCFafXfPO1fhA25_UZ7zNy_DuBaPbRFBvIGLZ4dou5tG5LmbUUl5z49UZIp6TlD4d_P-9ybIU/s400/Black+Cat+-+Basket4.jpg"></a></div>
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<i>Paola’s bizarre and seemingly inexplicable demise</i>
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Inspector Jansen (Renato De Carmine – dubbed by Edward Mannix) arrives to investigate and is puzzled by the strange case. Paola’s roommate and fellow model Margot Thornhill (Shirley Corrigan – dubbed by Silvia Faver) was the first to arrive at Paola’s dressing room – mere seconds after hearing her scream – and swears there was no one else there. Indeed, it would appear as though Paola has simply died a natural death, and yet the shawl around her neck is inexplicably torn and there are small scratch marks on her neck. Margot remembers seeing a basket that has since mysteriously vanished, but no one else can recall seeing it, so Inspector Jansen doesn’t seem to put much faith in this observation.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-EUDq7bP2NN6oZj3NrYNHuUpljSmE7mPfRcDQygjjUdZo7F9NiWcuHr28xwbCuv-GXU5bZD8LX3K1r2Z10ESE9GGzhu8frAAcoIKRyFWgtuMCZ7AP5CwRSF0mR3oEBot_PHoV3SCcfs/s1600/Black+Cat+-+Inspector.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-EUDq7bP2NN6oZj3NrYNHuUpljSmE7mPfRcDQygjjUdZo7F9NiWcuHr28xwbCuv-GXU5bZD8LX3K1r2Z10ESE9GGzhu8frAAcoIKRyFWgtuMCZ7AP5CwRSF0mR3oEBot_PHoV3SCcfs/s400/Black+Cat+-+Inspector.jpg"></a></div>
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<i>As expected, the police inspector fails to shed any light on the cause of the strange death</i>
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Peter, however, believes in Margot and quickly joins forces with her to try and figure out who killed Paola – with Peter’s sensitive smell and heightened hearing proving to be valuable assets in their amateur sleuthing. They start by seeking out Harry (Romano Malaspina – dubbed by Frank von Kuegelgen), a sleazy photographer friend of Paola’s who was helping her make blackmail photos, but before Peter and Margot can get to him, Harry is gorily slashed to death in his studio by a dark-clad, razor-wielding killer with black gloves.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5FUaatABqn-1578LvAalzrZn9Bo7dcZKnqDtqs_hrB6KlT566H7IvlH7non7mvYmvW7d2zMy17r6wokniXzF5nMZtPyUQlEWp4_X3J1LtdB_6vjrnkhQTDvlNZ3efMqq2w2Klg9CpFw/s1600/Black+Cat+-+Margot+Peter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5FUaatABqn-1578LvAalzrZn9Bo7dcZKnqDtqs_hrB6KlT566H7IvlH7non7mvYmvW7d2zMy17r6wokniXzF5nMZtPyUQlEWp4_X3J1LtdB_6vjrnkhQTDvlNZ3efMqq2w2Klg9CpFw/s400/Black+Cat+-+Margot+Peter.jpg"></a></div>
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<i>Peter teams up with Margot to solve the case...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGKOrZPTfRa71q1zJ_9Uuk29yciUFKhImuK86ujsibREJvn_wHBKW8uokvSsQ47_48b7O1sW7Pz6hllMl0H4MkQ1il9l0LbxogEHUpketZmnz5Ee25QuCgx37dCGt_uY-nCUX3vZgmfg/s1600/Black+Cat+-+Slashing1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGKOrZPTfRa71q1zJ_9Uuk29yciUFKhImuK86ujsibREJvn_wHBKW8uokvSsQ47_48b7O1sW7Pz6hllMl0H4MkQ1il9l0LbxogEHUpketZmnz5Ee25QuCgx37dCGt_uY-nCUX3vZgmfg/s400/Black+Cat+-+Slashing1.jpg"></a></div>
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<i>...but their meddling inevitably leads to more bloodshed</i>
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Peter believes that all of this is somehow related to the mysterious woman with the white cape whom he heard being blackmailed, and indeed it is! This strange woman is revealed to be Susan Leclerc (Giovanna Lenzi - credited under her frequent pseudonym Jeannette Len), a drug-addicted former circus artist whose dependence on drugs forces her to do the killer’s bidding. How? By poisoning a black cat’s claws with deadly curare, putting it into a basket and placing it in the intended victim’s home along a shawl doused in cat repellent. When the victim puts on the shawl and opens the basket, the cat comes jumping out and scratches the victim with its poisonous claws – producing a deadly heart attack!!! No chance of errors in that plan, eh?
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqHWJk1CgoBOTcCPxLgBzTwZv16rQGzhS3NdWJoqV_Gt3hC38alx57ZZI8jpQKqpVx0nDOfaxIpY8DIoiFV8JLpVva5VBJ_-gD02gfIv238OK2nr9YICjyafa8EFm6FHTjrqCd0h6j2k/s1600/Black+Cat+-+Susan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqHWJk1CgoBOTcCPxLgBzTwZv16rQGzhS3NdWJoqV_Gt3hC38alx57ZZI8jpQKqpVx0nDOfaxIpY8DIoiFV8JLpVva5VBJ_-gD02gfIv238OK2nr9YICjyafa8EFm6FHTjrqCd0h6j2k/s400/Black+Cat+-+Susan.jpg"></a></div>
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<i>The mysterious woman with the white cape...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBx4o7HG2TDeyRksJECulLH_VgD5CNWc0hlBtukAcjvzNAwm47i5szhTDaDJC3vQOcH2sauTiGcSxyJKdrIeDhS6SEeiQ6lJgeUJ2yO51aaRIVwbj4f8lqkiPyQ4GwV_6g39pPqCZLxLI/s1600/Black+Cat+-+Cat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBx4o7HG2TDeyRksJECulLH_VgD5CNWc0hlBtukAcjvzNAwm47i5szhTDaDJC3vQOcH2sauTiGcSxyJKdrIeDhS6SEeiQ6lJgeUJ2yO51aaRIVwbj4f8lqkiPyQ4GwV_6g39pPqCZLxLI/s400/Black+Cat+-+Cat.jpg"></a></div>
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<i>...and her deadly companion</i>
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But who’s the one forcing poor Susan into carrying out this wacky plan? Is it Paola’s playboy lover Victor Morgan (Giacomo Rossi Stuart – dubbed by Frank Latimore), whom she was blackmailing? Or is it Victor’s jealous wife Françoise (Sylva Koscina – dubbed by Susan Spafford), who happens to be the owner of the fashion house where Paola was working? Or how about bitchy lesbian model Helga (Annabella Incontrera), who never liked Paola much? Or could it possibly be Burton, Peter’s (too?) loyal manservant who was always opposed to his master’s relationship to Paola?
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfDZCiUWK_75yeRNI1mK8S7CPqBvB9On80IkBY4LTvvyrn6j1hposWQeIIMH0igU9EZqcbHkk9mgHE9rCljLORaCUHTMG2gfhOM3heerF5Ny9X4HN5u5X-V2VJdnqY6EFdb-tnAwRYNX0/s1600/Black+Cat+-+Victor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfDZCiUWK_75yeRNI1mK8S7CPqBvB9On80IkBY4LTvvyrn6j1hposWQeIIMH0igU9EZqcbHkk9mgHE9rCljLORaCUHTMG2gfhOM3heerF5Ny9X4HN5u5X-V2VJdnqY6EFdb-tnAwRYNX0/s400/Black+Cat+-+Victor.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjweoM8lD5G3PpRRQZNEUYSIAkqrUWMhmoiFfFotge_gBaFbLHsmMrGBQYafoFqfAC2zGS36du3BwxbITIVJ7ZE4cvQAuNfedv9OVzR1Qz7n8nUsvLfIKZ8xux84faR2wVo1-UhVjYgEvY/s1600/Black+Cat+-+Francoise.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjweoM8lD5G3PpRRQZNEUYSIAkqrUWMhmoiFfFotge_gBaFbLHsmMrGBQYafoFqfAC2zGS36du3BwxbITIVJ7ZE4cvQAuNfedv9OVzR1Qz7n8nUsvLfIKZ8xux84faR2wVo1-UhVjYgEvY/s400/Black+Cat+-+Francoise.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzoPs4_22X9CgJfx9SrcI2bcq4l8j45jclq-XzPQohV4XCYghHfL5BLsagXAiI3Ftvju-1L8UNncHwoa7eI6IP2VWaqkCDWJbrthfV-EYcTzTkinKRP_UzTIXo26wxOFnSY0s4_JrG9CI/s1600/Black+Cat+-+Helga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzoPs4_22X9CgJfx9SrcI2bcq4l8j45jclq-XzPQohV4XCYghHfL5BLsagXAiI3Ftvju-1L8UNncHwoa7eI6IP2VWaqkCDWJbrthfV-EYcTzTkinKRP_UzTIXo26wxOFnSY0s4_JrG9CI/s400/Black+Cat+-+Helga.jpg"></a></div>
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<i>Assorted suspects</i>
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Sergio Pastore was a peculiar filmmaker who dabbled in all kinds of genres and who never achieved any great success in any of them. Nearly all of his films are currently very hard to get hold of and his work is generally not held in very high esteem by the ones that have actually seen them. <i>The Crimes of the Black Cat</i> is by far Pastore’s most well-known and easily available work, and the only one of his films which appears to have enjoyed a fair amount of worldwide distribution - including a UK theatrical release in 1976 on a double bill with the Spanish horror film <i>The Horrible Sexy Vampire</i> (1970). And that is no wonder, seeing as how the film has a great cast and contains pretty much all of the most beloved hallmarks of the giallo genre, including flashy and violent murders, a complicated mystery, a black gloved killer, blackmailers, beautiful women in extravagant gowns, a terrific musical score, lesbians, silly dubbed dialogue and a top notch cast of genre favorites. Indeed, one might argue that the film plays out like a kind of ‘giallo greatest hits compilation’ – borrowing a number of significant plot points from earlier giallo entries.
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The most derivative element is probably the plot point of a blind protagonist who unwittingly listens in on a blackmail conversation just like in Dario Argento’s <i>The Cat ‘o Nine Tails</i> (1971), and Pastore also makes sure to crib the scene where the photographer is killed in his own studio from the same film. He also uses a bird call heard in the background during a telephone call as a clue to trace an apartment like in Argento’s <i>The Bird with the Crystal Plumage</i> (1970), and borrows the fashion house setting from Mario Bava’s <i>Blood and Black Lace</i> (1964). But on the flip side, the film also includes a couple of bits which would go on to be re-used in later gialli. For example, a protagonist who is hired to score a horror movie was also featured in Lamberto Bava’s <i>A Blade in the Dark</i> (1983) and the freeze-frame ending was recycled for Carlo Vanzina’s <i>Nothing Underneath</i> (1985).
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<i>Giallo Staple #1: A black gloved, razor-wielding maniac</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-Gf4XBsQ584dvlPnq_dlpEtYX7wyYZuPH1zqmp48yXAeGSVjBvAIY3inTkFa7kNDFI7rTKX3pJHgjwDABCgR0wHsBcvZGIdnLiD-IdCfmJ4rqlctH76aVaKO5R07OUtB1cb1LPuIb8k/s1600/Black+Cat+-+Lesbians.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-Gf4XBsQ584dvlPnq_dlpEtYX7wyYZuPH1zqmp48yXAeGSVjBvAIY3inTkFa7kNDFI7rTKX3pJHgjwDABCgR0wHsBcvZGIdnLiD-IdCfmJ4rqlctH76aVaKO5R07OUtB1cb1LPuIb8k/s400/Black+Cat+-+Lesbians.jpg"></a></div>
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<i>Giallo Staple #2: Lesbians</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbg5UVOCUazaKN_qaoT20TYVnOJXEvk_i8K0nWlFJIMM5dLPBZVIzqSfgpnsoZYTMIhVtSsDDpBRcZmmzVdW86WUsR_aJidtB7wyzbrJD6vVupnV5hdZCdPuOuYEZ4i01LSuY_bCCe-f8/s1600/Black+Cat+-+Decor+&+Fashion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbg5UVOCUazaKN_qaoT20TYVnOJXEvk_i8K0nWlFJIMM5dLPBZVIzqSfgpnsoZYTMIhVtSsDDpBRcZmmzVdW86WUsR_aJidtB7wyzbrJD6vVupnV5hdZCdPuOuYEZ4i01LSuY_bCCe-f8/s400/Black+Cat+-+Decor+&+Fashion.jpg"></a></div>
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<i>Giallo Staple #3: Décor and fashion moments to die for</i>
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<i>The Crimes of the Black Cat</i> must be said to be a pretty wacky giallo. The killer’s overly complicated modus operandi is beyond ridiculous – even more so because it is entirely contingent on the cooperation of an animal as stubborn and unpredictable as the cat. The film also comes with an expectedly absurd and hastily delivered explanation/justification for the murders in the climax, but when it comes to gialli that’s really more of a feature than it is a bug. And in any case, the many illogicalities do not really detract from the film’s enjoyment factor. On the contrary, the excessively complicated murder method and the improbability that such a plan could possibly succeed add a lot to the fun, and it’s definitely very inventive stuff.
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Also quite inventive is the original Italian title, which translates to very gialloesque <i>Seven Shawls of Yellow Silk</i>. A really fabulous title, even if a bit misleading since the film only features four yellow shawls, but I guess they went with seven in the title because Italian giallo filmmakers were generally obsessed with the number seven – see also <i>Seven Murders for Scotland Yard</i> (1971), <i>The Devil with Seven Faces</i> (1971), <i>Seven Blood-Stained Orchids</i> (1972), <i>The Lady in Red Kills Seven Times</i> (1972) and <i>Seven Deaths in the Cat’s Eyes</i> (1973). The English export title of <i>The Crimes of the Black Cat</i> is a bit more generic and follows the seemingly mandatory giallo tradition of referencing an animal. That said, the black cat here is far more integral to the plot than what was usually the case in these films – such as <i>The Iguana with the Tongue of Fire</i>, in which the titular animal merely comes from a peripheral line of dialogue.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJ1p5i_oOMtER5byFL119RfDSlUr-tTBayjahTUUmrsLgp1226BwdwfSIh_JvaHe3xCVoWfiBN3j_8bF_CDm1abNHkyKKtDoFfILbNjclcl8fEPLzijY5uWRYRW8jOigtB4QYhI7Uhqs/s1600/Black+Cat+-+Newspaper+Ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJ1p5i_oOMtER5byFL119RfDSlUr-tTBayjahTUUmrsLgp1226BwdwfSIh_JvaHe3xCVoWfiBN3j_8bF_CDm1abNHkyKKtDoFfILbNjclcl8fEPLzijY5uWRYRW8jOigtB4QYhI7Uhqs/s400/Black+Cat+-+Newspaper+Ad.jpg"></a></div>
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<i>Stylish newspaper ad for the film with a tag line which tries to make better sense of its Italian title. It roughly translates to this: "7 shawls of yellow silk..... 5 have already killed..... 2 are still missing..... one single order: FIND THEM!..... prevent that they kill again....."</i>
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Stylistically, the film feels a bit uneven, with the looped shots and shock zooms during the cat attack scenes coming across as more awkward than effective. Some of the more carefully composed sequences are wonderfully realized, however, such as a stylish and hallucinatory scene in which the drug addicted mystery woman in white breaks into the fashion studio and enters a room full of mannequins.
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The film also includes a couple of memorable set pieces – mainly a nighttime scene in which a terrified woman is chased to a dark and deserted train station, and another nocturnal scene in which the blind protagonist has to fight off dangers at a construction site. Both these sequences are suspenseful and very effectively staged – making good use of the isolated and authentic Danish locations, and of the wonderful score by Manuel De Sica.
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<i>One of the film's stylish highlights</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR3MbdEwj17O8I0Wl4us_KkFN7nhKEkod156oTXWAXWRB52wrNGMyX2AiFhqgEN7TQbCZqtSIeXuNQ1egI1paLFU4isUD6IXWGQRsutToraA0XafZi07TsF4kHkB0WRS8acnccEdZIWDo/s1600/Black+Cat+-+Suspense.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR3MbdEwj17O8I0Wl4us_KkFN7nhKEkod156oTXWAXWRB52wrNGMyX2AiFhqgEN7TQbCZqtSIeXuNQ1egI1paLFU4isUD6IXWGQRsutToraA0XafZi07TsF4kHkB0WRS8acnccEdZIWDo/s400/Black+Cat+-+Suspense.jpg"></a></div>
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<i>The expertly executed construction site sequence is a terrific suspense set piece</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzxyVnl-AbgkiZeTVQumHhTlWu50ZP047qzzBrfTUNor85UaYMDUfrP6nJTuPsIdR7hgzxbutodyH2IXL5a8FBuLuzBS6sawhbpvZp090sggiRrc_eadXB-TbIu8gJscaqrRTWaY8P0Dc/s1600/Black+Cat+-+Station1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzxyVnl-AbgkiZeTVQumHhTlWu50ZP047qzzBrfTUNor85UaYMDUfrP6nJTuPsIdR7hgzxbutodyH2IXL5a8FBuLuzBS6sawhbpvZp090sggiRrc_eadXB-TbIu8gJscaqrRTWaY8P0Dc/s400/Black+Cat+-+Station1.jpg"></a></div>
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<i>The creepy scene at the deserted train station is yet another high point</i>
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And one cannot discuss this film without mentioning its jaw-droppingly brutal shower murder, in which Pastore graphically exploits what Hitchcock only hinted at in <i>Psycho</i> (1960) – slicing the defenseless victim into pieces with a razor in gloriously gory detail. This is surely one of the most vicious and shockingly violent deaths in any Italian film from the early 1970s, and comes as a real surprise late in the film after a series of not all that graphic murders.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcruFnT-HX1LdvEk3Db2c5pDcNRHD1tDS7B_Z6098ARJeg062Cq66shbnGbVXDacIV5sw-03i1HFOfOMT1NDsitT0WsPzAVoOYGQ5yZj6DNTI0-3iv3zu8uArxiPWT51AdzUvWJt0Za0/s1600/Black+Cat+-+Shower+Murder4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcruFnT-HX1LdvEk3Db2c5pDcNRHD1tDS7B_Z6098ARJeg062Cq66shbnGbVXDacIV5sw-03i1HFOfOMT1NDsitT0WsPzAVoOYGQ5yZj6DNTI0-3iv3zu8uArxiPWT51AdzUvWJt0Za0/s400/Black+Cat+-+Shower+Murder4.jpg"></a></div>
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<i>Pastore really lays on the savage butchery in the film’s most notorious sequence</i>
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The cast is generally quite good. Anthony Steffen is a bit stiff as always but since he’s playing a blind character his stiffness actually works to his advantage – resulting in one of his better performances. It also helps considerably that he’s dubbed by an experienced pro like Edmund Purdom, whose solid vocal performance manages to imbue the character with a sense of authority. The film also features good supporting performances by character actors Umberto Raho as Steffen’s impeccably correct manservant and Renato De Carmine as the police inspector who is greatly annoyed by Steffen’s interference in his investigation. Giacomo Rossi Stuart is also nicely cast as Sylva Koscina’s playboy husband, and while Koscina herself is somewhat decoratively used throughout much of the film she proves that at age 39 she was just as stunning and elegant as she had been 14 years earlier in <i>Hercules</i> (1958). As the mysterious, drug-addicted ex-circus artist who owns the titular cat, Giovanna Lenzi – Sergio Pastore’s wife, who would later go on to direct her own giallo, the spellbindingly awful <strong><em><a href="http://euro-fever.blogspot.com/2013/02/delitti.html">Delitti</a></em></strong> (1986) – carries what is arguably the film’s most intriguing role. She has to suffer for her art, though, as she is made up to look pale and haggard to be convincing as a drug addict. The rest of the attractive female cast, however, is very sexy and appealing – particularly blonde British bombshell Shirley Corrigan as the likable Margot who aids Anthony Steffen in his sleuthing, the always delightful Annabella Incontrera, who plays a predatory lesbian for the umpteenth time, and Yugoslavian-born photo-novel star Liliana Pavlo as Incontrera’s lesbian lover. The film also features an early appearance by the cute French starlet Isabelle Marchall, who has little to do here as the first victim but who would soon go on to be featured more prominently in another giallo, <strong><em><a href="http://euro-fever.blogspot.com/2011/03/crazy-desires-of-murdereri-vizi-morbosi.html">Crazy Desires of a Murderer</a></em></strong> (1973).
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In sum, <i>The Crimes of the Black Cat</i> is not really among the most clever or original gialli but in terms of pure entertainment it manages to hit all the marks. It includes pretty much all of the favorite giallo staples, and at the same time, the film’s unusual setting and the bizarre modus operandi give it an individual stamp that makes it stand out among the endless stream of gialli being produced at the time. Easily an essential watch for all giallo lovers!
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<b>Trivia</b>
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<b>1.</b> The very brief clips we are shown from the horror film Peter is scoring are lifted from Lucio Fulci’s <i>A Lizard in a Woman’s Skin</i> (1971) – presumably utilized here because both films were produced by Edmondo Amati.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgvyC31iHhASz1MTVblnty_NPeQbQ8YU6AOqYsDZUAik2EOqe5dKCn3QyJPggDNthT69ksmDpoS-nrr3D0aAl0DrzB5-_xdiHekrlWhAx7O3Rs_mlAsmLo9DmGHHd9I7w6X9XbPWsOcKk/s1600/Black+Cat+-+Lizard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgvyC31iHhASz1MTVblnty_NPeQbQ8YU6AOqYsDZUAik2EOqe5dKCn3QyJPggDNthT69ksmDpoS-nrr3D0aAl0DrzB5-_xdiHekrlWhAx7O3Rs_mlAsmLo9DmGHHd9I7w6X9XbPWsOcKk/s400/Black+Cat+-+Lizard.jpg"></a></div>
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<i>Briefly glimpsed footage of Florinda Bolkan in</i> A Lizard in a Woman's Skin
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<b>2.</b> The scene with the photographer and his floozy blonde model (played by Imelde Marani) was shot twice. In the version shot for the Italian market (the one used for the Italian DVD release and the fan dubs made from this print) the girl is seen wearing a pair of black panties. However, in the version made for the international market (released, for example, on Greek VHS with English dubbing) she appears fully naked.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxTYgNVv0vwgYqUQKvambrg_TpbMvSFDy-yKfFQXgpf8G3npvyl0Ps6j1xr0yDfziB-wMgEvdbqyq_mo8R9gELaCze8iLeW6xJ_EFDsvMr4zQXGBmsPfubW5ea4v8g8-OeHyYp71LJBY/s1600/Black+Cat+-+Clothed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxTYgNVv0vwgYqUQKvambrg_TpbMvSFDy-yKfFQXgpf8G3npvyl0Ps6j1xr0yDfziB-wMgEvdbqyq_mo8R9gELaCze8iLeW6xJ_EFDsvMr4zQXGBmsPfubW5ea4v8g8-OeHyYp71LJBY/s400/Black+Cat+-+Clothed.jpg"></a></div>
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<i>How the scene plays out in the partially clothed Italian variant</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0eBmVHKGLhUnKsrhHUZWU4QMVmEwusBZen5AS3gxltA441Bng0kvsP-PK6pSbUY2RFwB9xRvXRxTj-9zVOXsgH8TX0q9-J5zN8_ZoV2QY2W2ZKbnXyqcPrktnj2YorketbmKmFbi_mf8/s1600/Black+Cat+-+Unclothed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0eBmVHKGLhUnKsrhHUZWU4QMVmEwusBZen5AS3gxltA441Bng0kvsP-PK6pSbUY2RFwB9xRvXRxTj-9zVOXsgH8TX0q9-J5zN8_ZoV2QY2W2ZKbnXyqcPrktnj2YorketbmKmFbi_mf8/s400/Black+Cat+-+Unclothed.jpg"></a></div>
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<i>And here the same scene in its more graphic international variant as seen on the Greek VHS. Sorry for the craptacular photo off the TV screen but at least it proves the point</i>
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© 2014 Johan Melle
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<b>The cast:</b>
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<i>Anthony Steffen as Peter Oliver</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwjZUqri_22PZaXxavxn2Z-ZXEvxXlI8I3VJrcF-kcU8IDLNf3nc5oePnipskh7O0o717fJq-XRZVdfO-Y3GcUskNdzRtqBvA6iUueSapNjKgPMERXE1QvFruIb3eohXMDbAsi8idqTPY/s1600/Black+Cat+-+Shirley+Corrigan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwjZUqri_22PZaXxavxn2Z-ZXEvxXlI8I3VJrcF-kcU8IDLNf3nc5oePnipskh7O0o717fJq-XRZVdfO-Y3GcUskNdzRtqBvA6iUueSapNjKgPMERXE1QvFruIb3eohXMDbAsi8idqTPY/s400/Black+Cat+-+Shirley+Corrigan.jpg"></a></div>
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<i>Shirley Corrigan as Margot Thornhill</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJIsOZYpMQO1jy1w2EhCpQj58iLgmCw37aCh76mc-OIVmaGoOtTBZ_tmQ2OA4IHnjX_e7yqCIYfzlmenxHgGL0QLFiYbsuf2tXgj1UCjRqvGahrSnxA1USUGkHm9B2AMmZwSKMn2rXWXc/s1600/Black+Cat+-+Sylva+Koscina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJIsOZYpMQO1jy1w2EhCpQj58iLgmCw37aCh76mc-OIVmaGoOtTBZ_tmQ2OA4IHnjX_e7yqCIYfzlmenxHgGL0QLFiYbsuf2tXgj1UCjRqvGahrSnxA1USUGkHm9B2AMmZwSKMn2rXWXc/s400/Black+Cat+-+Sylva+Koscina.jpg"></a></div>
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<i>Sylva Koscina as Françoise Ballais</i>
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<i>Renato De Carmine as Inspector Jansen</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHQ2Chn7_6IRciDrdkkRerQva1mNIxzR2VgRp83iK5q9nNdUXolnIJKVYrX7D0AJ1jjAyieX2LD6jEMyiisbjg7DAcSGZEBO-SC8_RMrojZheHfSIH6_tpVbxaNbJ7BL6IMWpqViAf1is/s1600/Black+Cat+-+Giacomo+Rossi+Stuart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHQ2Chn7_6IRciDrdkkRerQva1mNIxzR2VgRp83iK5q9nNdUXolnIJKVYrX7D0AJ1jjAyieX2LD6jEMyiisbjg7DAcSGZEBO-SC8_RMrojZheHfSIH6_tpVbxaNbJ7BL6IMWpqViAf1is/s400/Black+Cat+-+Giacomo+Rossi+Stuart.jpg"></a></div>
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<i>Giacomo Rossi Stuart as Victor Morgan</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYHrUXb6YX2XqvuNPjqQPtPDARaDTLc72qjcEES88fQczdhDZIBPvhsIBiZPiAewDOC_6fRoeAkCcqP-RUP6X5qRle2BnsiJFpPzgpK6bsW62CMFsN_z81okHNhBkgy2nRZrR6vj2NnM/s1600/Black+Cat+-+Umberto+Raho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYHrUXb6YX2XqvuNPjqQPtPDARaDTLc72qjcEES88fQczdhDZIBPvhsIBiZPiAewDOC_6fRoeAkCcqP-RUP6X5qRle2BnsiJFpPzgpK6bsW62CMFsN_z81okHNhBkgy2nRZrR6vj2NnM/s400/Black+Cat+-+Umberto+Raho.jpg"></a></div>
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<i>Umberto Raho as Burton</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHwPU4tzIwhY21QzT90UgpZU281y2XmsOm77ehcL5TTxXOjBVDkb1yfQe0c3f28ZE0P5jgPOx8XF6iA8_W7hEwZx0d3EOmIKI87-xzjQtZ2SuktTST34JsKTaA4DNTY1YukRoJoEFg40/s1600/Black+Cat+-+Giovanna+Lenzi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNHwPU4tzIwhY21QzT90UgpZU281y2XmsOm77ehcL5TTxXOjBVDkb1yfQe0c3f28ZE0P5jgPOx8XF6iA8_W7hEwZx0d3EOmIKI87-xzjQtZ2SuktTST34JsKTaA4DNTY1YukRoJoEFg40/s400/Black+Cat+-+Giovanna+Lenzi.jpg"></a></div>
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<i>Giovanna Lenzi as Susan Leclerc</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyUWV0RYRsgKxe2nsewzs8n2ybRSjxaTqY4cxB6I0qm23rvkch6qfj6B5ehYtQ0FHpRhinJO3Hgj83rgCorVFKbNiz9v7ZYiWurC__TvAdC0gBUEA97lblvllFvvrXeFpoCbEspGASKk/s1600/Black+Cat+-+Annabella+Incontrera.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyUWV0RYRsgKxe2nsewzs8n2ybRSjxaTqY4cxB6I0qm23rvkch6qfj6B5ehYtQ0FHpRhinJO3Hgj83rgCorVFKbNiz9v7ZYiWurC__TvAdC0gBUEA97lblvllFvvrXeFpoCbEspGASKk/s400/Black+Cat+-+Annabella+Incontrera.jpg"></a></div>
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<i>Annabella Incontrera as Helga Schurn</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6zFJ6QGgGtOnHn3qELghCytnx-RN_SYyukk2KC0lq4cjUphNnTUhFzfAVsg0SxFQenNW0Vvn5vJnHXQXgeFoCjhPCGhnupAQ11YHS6rR7tJVy2DXHLiqK1TlEbBsNlsdQVBSd7NGs3og/s1600/Black+Cat+-+Liliana+Pavlo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6zFJ6QGgGtOnHn3qELghCytnx-RN_SYyukk2KC0lq4cjUphNnTUhFzfAVsg0SxFQenNW0Vvn5vJnHXQXgeFoCjhPCGhnupAQ11YHS6rR7tJVy2DXHLiqK1TlEbBsNlsdQVBSd7NGs3og/s400/Black+Cat+-+Liliana+Pavlo.jpg"></a></div>
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<i>Liliana Pavlo as Wendy Marshall</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaogZJBcPI8GA52bDATkatFgLVNjhY-oUMfvdxALQqFOkRl8sJYlNipgVTGThLEQXLdsxC8Q61pWDSziy9biLCqNXJcb8YMjA3WQfT8Ghfshw8lK7X5Df2we7AUzNphQwuqGOogl-VsPc/s1600/Black+Cat+-+Isabelle+Marchall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaogZJBcPI8GA52bDATkatFgLVNjhY-oUMfvdxALQqFOkRl8sJYlNipgVTGThLEQXLdsxC8Q61pWDSziy9biLCqNXJcb8YMjA3WQfT8Ghfshw8lK7X5Df2we7AUzNphQwuqGOogl-VsPc/s400/Black+Cat+-+Isabelle+Marchall.jpg"></a></div>
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<i>Isabelle Marchall as Paola Whitney</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjk0vGMjK4rlLHs3oTiJQsZDQZw2DHZdlyEkfPYqTsc2ncPjCCOpzRbga8MJYTl08_fafMPi3xzHjpzro0lpdWc_uZ5xEdvprdcq5NOByYMIMGSl6UzsW3rzF-L5Ee284kTm5U7JzxP4/s1600/Black+Cat+-+Romano+Malaspina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjk0vGMjK4rlLHs3oTiJQsZDQZw2DHZdlyEkfPYqTsc2ncPjCCOpzRbga8MJYTl08_fafMPi3xzHjpzro0lpdWc_uZ5xEdvprdcq5NOByYMIMGSl6UzsW3rzF-L5Ee284kTm5U7JzxP4/s400/Black+Cat+-+Romano+Malaspina.jpg"></a></div>
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<i>Romano Malaspina as Harry</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOU7bqtBIUMrFWWK7akJinwildc3l6f2g2iKB4471UtZcxT8FfgzJWMmBTMRJjms3siwV4_oOLq4TbYwhwxZOyPpdDU_HBHKEoN41qQfVgAU4JpT7UUZKkhbQHpiaYFGnRSvrYT9zc-4/s1600/Black+Cat+-+Imelde+Marani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOU7bqtBIUMrFWWK7akJinwildc3l6f2g2iKB4471UtZcxT8FfgzJWMmBTMRJjms3siwV4_oOLq4TbYwhwxZOyPpdDU_HBHKEoN41qQfVgAU4JpT7UUZKkhbQHpiaYFGnRSvrYT9zc-4/s400/Black+Cat+-+Imelde+Marani.jpg"></a></div>
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<i>Imelde Marani as Harry’s model</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa78rFPx4-1UHSn5DfB4URAkUk9YBPGUndpFz_smYrQV2ZpsJTLGZtlY17Nd_SspqvpHo3B_aFUeEVefnDtT2v3A1SLiTORW_LEIsb-1FNV7RT7gaXLsqOkhP8jCXQ_p2l75q_5jvimI/s1600/Black+Cat+-+Bruno+Alias.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa78rFPx4-1UHSn5DfB4URAkUk9YBPGUndpFz_smYrQV2ZpsJTLGZtlY17Nd_SspqvpHo3B_aFUeEVefnDtT2v3A1SLiTORW_LEIsb-1FNV7RT7gaXLsqOkhP8jCXQ_p2l75q_5jvimI/s400/Black+Cat+-+Bruno+Alias.jpg"></a></div>
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<i>Bruno Alias as The hairdresser</i>
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<i>Margherita Horowitz as The dress fitter</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-71433177648429707802014-08-31T13:49:00.002-07:002021-05-22T18:21:14.217-07:00A tribute to Carolynn De Fonseca<div class="separator" style="clear: both; text-align: center;">
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There are so many extraordinary and talented voice actors who have spent a life-time dubbing hundreds upon hundreds of great Italian movies into English, and yet so few of these people have received the recognition they so greatly deserve for several decades-worth of long and hard work. Out of all the English-language dubbers based in Rome, one of the most memorable is without a doubt the late, great Carolynn De Fonseca, whose breathy, sensual and seductively feminine voice will be instantly recognizable to anyone who is into Italian movies. Fans of Italian cult cinema will probably recognize her as the voice of Daria Nicolodi in <i>Deep Red</i> (1975), Barbara Magnolfi in <i>Suspiria</i> (1977), Franca Stoppi in <i>Beyond the Darkness</i> (1979) and Mariangela Giordano in <i>The Nights of Terror</i> (1981) but those roles make up just a tiny fraction of Carolynn’s amazing career, which includes more than 1000 dubbing credits over the span of nearly 40 years.
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According to information I found at the Ancestry.com website, Carolynn was born on 25 June 1929 in San Francisco, California, USA as Carolyn Lila Fonseca, although she later preferred spelling her first name with two N’s. Carolynn wanted to try her luck as an actress and in the early 1960s she headed to Italy and the prosperous Roman film industry in search of acting work. She landed a couple of good supporting roles – notably in Richard Fleishcer's Rome-lensed, large-scale epic <i>Barabbas</i> (1961), in which she can be seen interacting with Anthony Quinn as one of the sinful women at the tavern, and in the peplum adventure <i>Damon and Pythias</i> (1962), in which she plays a love potion maker. She was never able to achieve the success she had hoped for but did, however, continue to land a few small roles every now and then - a later credit includes <i>Midas Run</i> (1969), an American caper movie partially filmed in Italy.
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<i>A young Carolynn can be seen right next to Anthony Quinn in these screenshots from</i> Barabbas
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<i>Carolynn is Chloe the love potion maker in</i> Damon and Pythias
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<i>Carolynn appears briefly as a brusque German woman in the caper film </i>Midas Run
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The Italian industry was blossoming in the early 1960s - with more and more Italian productions being made with an international audience in mind. Consequently, the English dubbing industry in Rome grew rapidly. Native English speakers were in great demand for dubbing, and Carolynn soon found that there was constant work to be found at the Fono Roma dubbing studios. I do not know exactly when she started her dubbing career but the earliest films in which I’ve detected her unmistakable voice are from 1961. One of these early dubbing jobs was in Mario Bava’s colorful peplum adventure <i>Hercules in the Center of the Earth</i> (1961), in which Carolynn lends her voice to actress Ely Drago, who plays a minor role as a love interest for the film’s co-lead, Giorgio Ardisson. The same year she also worked on the early Italian horror film <i>Werewolf in a Girl’s Dormitory</i>, in which she dubs the part of Leonore, the faithful lover of the film’s titular werewolf.
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<i>Ely Drago in</i> Hercules in the Center of the Earth <i>was one of the first actresses to be dubbed into English by Carolynn De Fonseca</i>
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<i>Another early dubbing performance for Carolynn was to provide the voice of the sinister Leonore in</i> Werewolf in a Girl's Dormitory<i>. Unfortunately, I have not been able to identify the actress who plays this part. If you know who she is then please let me know!</i>
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In the early 1960s, peplum was the leading Italian genre to be exported abroad, and Carolynn quickly progressed to voicing larger parts in these films. She was at her absolute best when dubbing seductive and evil queens – some of the more memorable examples being her dubbing of Moira Orfei in <i>Mole Men Against the Son of Hercules</i> and <i>Ursus in the Valley of the Lions</i> (both 1961). Carolynn had found her forte and throughout the rest of her career, voicing seductive femme fatales would remain one of her specialties.
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<i>Moira Orfei's part as the villainous and campily extravagant queen in</i> Mole Men Against the Son of Hercules <i>was a perfect part for Carolynn to dub, and voicing such parts would quickly become her forte</i>
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<i>Janine Hendy as the evil queen in the silly but enjoyable</i> Thor and the Amazon Women <i>(1963) is another memorable peplum part dubbed by Carolynn</i>
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<i>In additions to dubbing evil queens, Carolynn's versatility also made her a natural choice to voice female leads, such as Cuban beauty Bella Cortez in</i> Ali Baba and the Seven Saracens <i>(1964). She had also previously dubbed Cortez in a more villainous part in</i> Tor - Mighty Warrior <i>(1963)</i>
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Of course, peplum was just one out of many genres that Carolynn dabbled in. Throughout the 1960s she dubbed leads and villains in all of the prolific Italian genres, including horror, Euro-spy, adventure and western. Below is a small selection of some of the many memorable parts she dubbed in this period:
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<i>In Mario Bava's gothic horror classic</i> The Whip and the Body <i>(1963) Carolynn provides the voice of the ravishing Israeli actress Daliah Lavi</i>
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<i>In Massimo Pupillo's delightfully campy horror movie</i> Bloody Pit of Horror <i>(1965), Carolynn dubs the voice of Hawaiian beauty Moa Tahi, who in the film's most famous sequence is caught in a spider web and menaced by hilariously unconvincing giant spider designed by a young Carlo Rambaldi</i>
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<i>In</i> Terror Creatures from the Grave<i> (1965), another terrific Massimo Pupillo horror movie, Carolynn dubs the voice of the undisputed queen of Italian gothic horror cinema: Barbara Steele. The English Steele could well have dubbed her own voice but rarely opted to do so - in fact Carolynn also dubbed her in Antonio Margheriti's</i> The Long Hair of Death <i>(1964)</i>
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<i>In the giallo/gothic horror hybrid</i> The Murder Clinic <i>(1966), Carolynn dubs the wonderful French actress Françoise Prevost in wonderfully bitchy fashion. Her voice matches Prevost's age and persona perfectly, and she would consequently dub Prevost again in</i> A Woman on Fire <i>(1969)</i>
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<i>Euro-spy is another genre in which Carolynn's voice was frequently utilized, such as in the enjoyably cheesy</i> Secret Agent Super Dragon <i>(1966), in which she dubs the voice of the fabulous Marisa Mell. A decade later, Carolynn dubbed Mell again in the gritty crime thriller</i> The Beast with a Gun <i>(1977)</i>
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<i>The Euro-spy adventure</i> Password: Kill Agent Gordon <i>(1966) features what is probably one of Carolynn's most bizarre dubbing performances. She provides the voice of well-known character actor Franco Ressel in the role a wheelchair-bound villainess with a booby-trapped umbrella who is eventually revealed to be a man in disguise!</i>
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<i>Franco Ressel after his wig comes off in</i> Password: Kill Agent Gordon<i>. Definitely an oddball performance for Carolynn to dub but - as you will soon see - it was not the last time she would dub a transsexual character</i>
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<i>In the colorful superhero adventure</i> Superargo Against Diabolicus <i>(1966), Carolynn once again does what she does best and provides the voice of fiery-haired villainess Loredana Nusciak</i>
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<i>Carolynn was also a prolific dubbing voice in spaghetti westerns, and one of her best known efforts is as the voice of the fiery Valeria Fabrizi in Sergio Corbucci's</i> Ringo and His Golden Pistol <i>(1966). Later, she would dub Fabrizi again in the lesser-known western</i> Four Pistols for Trinity <i>(1971) and in the sex comedy</i> Chaste and Pure<i> (1981)</i>
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<i>Carolynn dubs the voice of Danish actress Ann Smyrner as a wicked doctor in the endearingly silly sci-fi adventure</i> Mission Stardust <i>(1967), based on the popular pulp novel series</i> Perry Rhodan
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<i>Carolynn's versatility led her to dub actresses in several age ranges, and in Sergio Corbucci's spaghetti western classic</i> The Great Silence <i>(1968) she voices the brilliant character actress Marisa Merlini in the role of a colorful saloon madam</i>
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<i>Another classic spaghetti western to feature Carolynn's vocal talent is Sergio Sollima's</i> Run, Man, Run <i>(1968) in which she dubs the voice of the smashing Linda Veras</i>
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<i>In the giallo/crime hybrid</i> Death Knocks Twice <i>(1968), Carolynn dubs the voice of Swedish sexpot Anita Ekberg. The film itself might be rather lacklustre but I can't think of a better voice actress to match Ekberg's persona</i>
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<i>Carolynn lends her seductive tones to the excellent British-born starlet Margaret Lee in</i> Venus in Furs <i>(1969), one of the best regarded films from highly prolific cult director Jess Franco</i>
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One thing about the English dubbing of Italian films which is somewhat unusual is the voicing of popular actors. In countries such as Italy, France and Germany it is customary in the dubbing of foreign films that all the big stars have a regular dubber who does their voice in all of their films to secure a sense of continuity. This is usually not the case, however, in the English-dubbed versions of Italian films, and as such, Carolynn never dubbed any actresses on a regular basis. There are nevertheless a few notable actresses whom she voiced on several occasions. The most famous of these was busty blonde Hollywood bombshell Jayne Mansfield. Mansfield was starring in several European productions in the 1960s but for whatever reason she chose to not dub her own voice, so Carolynn was brought in to dub Mansfield – with her breathy, girlish voice proving to be a perfect fit for the famed Hollywood blonde. Carolynn dubbed Mansfield in the crime drama <i>Dog Eat Dog</i> and the mondo-style sex comedy <i>Primitive Love</i> (both 1964) but not, however, in the peplum adventure <i>The Loves of Hercules</i> (1960) even though this has sometimes been reported.
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<i>Jayne Mansfield doing a sexy dance in</i> Primitive Love
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Dog Eat Dog <i>features another sexy Mansfield role dubbed by Carolynn</i>
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The most (in)famous occasion on which Carolynn provided Mansfield’s voice, however, was in the notorious <i>The Wild, Wild World of Jayne Mansfield</i> (1968), a trashy faux-documentary churned out by producer and exploitation genius Dick Randall in order to cash in on Mansfield’s untimely death in a car crash in 1967. A few years earlier, Mansfield had shot some footage in Italy and France for a travelogue that was never finished. The footage, which had been shot without sound, didn’t amount to more than about 30 minutes but Randall padded the rest of the running time with sexy clips from Mansfield’s earlier films, and lots of footage from bizarre European nightclubs (with shots of Mansfield unconvincingly inserted to make it appear as if she is present). But the pièce de résistance of this spectacularly tacky documentary is Jayne Mansfield’s narration. Obviously, the narration was not done by Mansfield herself, but by Carolynn, who imitates Mansfield’s voice as best she can and puts on a spectacular show of hilarious dialogue delivered in wonderfully sultry and breathy fashion like only she was able to.
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<i>Two screenshots of Jayne Mansfield from the notorious</i> The Wild, Wild World of Jayne Mansfield
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In addition to Jayne Mansfield there are also a few other notable actresses whose voices Carolynn dubbed on several occasions, such as Dagmar Lassander and Rita Silva.
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<i>Bitto Albertini's</i> Black Emanuelle 2 (<i>1976), the in-name-only sequel to Albertini's landmark hit</i> Black Emanuelle <i>(1975) with Laura Gemser, is the earliest film I have found in which Carolynn dubs the voice of the ravishing Dagmar Lassander</i>
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<i>Carolynn dubs Dagmar Lassander again in Joe D'Amato's erotic period piece</i> The Pleasure <i>(1985). In addition, she also dubbed Lassander in the gritty crime film</i> Return of the 38 Gang <i>(1977) and in Lucio Fulci's gory horror hit</i> The House by the Cemetery <i>(1981)</i>
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<i>In the supremely trashy W.I.P. flick</i> Hell Behind Bars <i>(1983), Carolynn dubs the sadistic lesbian warden played by Rita Silva in a terrifically bitchy and over the top fashion that greatly complements Silva's performance</i>
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<i>Carolynn dubs Rita Silva again in</i> Hell Penitentiary <i>(1983), the companion piece to</i> Hell Behind Bars<i>, in which Silva once again portrays a sadistic lesbian prison warden. In addition, Carolynn also dubbed Silva in Lucio Fulci's notorious</i> The New York Ripper <i>(1982) and in the low-budget sex romp</i> The Erotic Dreams of Cleopatra <i>(1985)</i>
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But the most memorable actress that Carolynn dubbed several times is arguably the great Rosalba Neri. Carolynn's breathy and sensual tones are a terrific fit for the catty and spellbindingly sexy Neri. A perfect combo!
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<i>The enjoyable Eurospy adventure</i> Hot Diamonds in Cold Blood <i>(1967) is the earliest film I have found in which Carolynn dubs the voice of Rosalba Neri, who appears here in a classical femme fatale role</i>
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<i>In Fernando Di Leo's ultra-trashy giallo</i> Slaughter Hotel <i>(1971), Carolynn dubs Rosalba Neri in the role of an insatiable nymphomaniac</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7pbg5rYIldCAyDkN1NBl6IwLthzvCQEDYO7DIb5l46YNPRHjBImtjCmLBRioJbKeh_tYCYus32HIxb_PYE2L8DCLhjxhUJLCh6G4TLSMS53DvqpdbC3VOe48O022BcW3TlRZOF3p2Jg/s1600/Rosalba+Neri+-+Smile+Before+Death.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7pbg5rYIldCAyDkN1NBl6IwLthzvCQEDYO7DIb5l46YNPRHjBImtjCmLBRioJbKeh_tYCYus32HIxb_PYE2L8DCLhjxhUJLCh6G4TLSMS53DvqpdbC3VOe48O022BcW3TlRZOF3p2Jg/s400/Rosalba+Neri+-+Smile+Before+Death.jpg"></a></div>
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<i>The sexy giallo</i> Smile Before Death <i>(1972) is another film in which Rosalba Neri is dubbed by Carolynn</i>
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<i>Carolynn really gets to dig into the bitchy dialogue as she voices Rosalba Neri's villainous character in the highly enjoyable female gladiator flick</i> The Arena <i>(1973)</i>
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Carolynn’s husband of more than 40 years was the legendary dubbing actor/director Ted Rusoff (1939-2013). Ted was the nephew of American International Pictures (AIP) head Samuel Z. Arkoff, and because of his extensive knowledge of languages, he was entrusted with going to Italy in 1963 to oversee the English dubbing of Italian films which AIP had purchased for American release. It was in the Italian dubbing studios that Ted became acquainted with Carolynn, who was already an established voice actress at that point. The two were married in August 1966 and would go on to collaborate on innumerable projects. The earliest film I have discovered in which the voices of Ted and Carolynn are both present is the 1965 horror film <i>Bloody Pit of Horror</i>. The pair would continue to work together more and more frequently, and Carolynn was often assigned leading voice roles in films where Ted was in charge of writing and directing the English dubbing.
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In 2010, Ted Rusoff was interviewed by John Charles for the magazine <i>Video Watchdog</i>, and the full interview can also be read at Charles' <a href="http://byjohncharles.blogspot.no/2011/07/meet-me-and-meet-il-mostro.html">blog</a>. I strongly recommend you to check it out, as this is a really terrific and highly informative piece in which Rusoff discusses his dubbing career in detail and shares wonderful memories of his wife and other dubbing colleagues.
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<i>Dubbing legend Ted Rusoff, Carolynn's husband and work companion for more than 40 years</i>
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By the early 1970s, Carolynn had given up her ambition for on-screen acting and instead focused all of her efforts on dubbing. As mentioned, she specialized in dubbing bitchy villainesses and would always dig into those roles with a wild enthusiasm that would enhance the entertainment value of many a mediocre, low-budget film. But she was also perfect for voicing sultry sexpots, sobbing hysterics or straight female leads, and below you’ll find a nice selection of a few particularly memorable dubbing appearances made during the 1970s:
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<i>In Sergio Martino's excellent and influential giallo</i> The Strange Vice of Mrs. Wardh <i>(1971), Carolynn dubs the voice of Cristina Airoldi as Edwige Fenech's ditzy and party-loving best friend</i>
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<i>The Bud Spencer/Terence Hill adventure comedy</i> Blackie the Pirate <i>(1971) features Carolynn as the voice of the breathtaking Silvia Monti. Carolynn later dubbed Monti again in the violent crime film</i> The Last Desperate Hours <i>(1974)</i>
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<i>In the popular giallo</i> The Case of the Bloody Iris <i>(1972), Carolynn dubs the terrific black actress/dancer Carla Brait in the role of a sassy nightclub entertainer</i>
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<i>Umberto Lenzi's giallo classic</i> Seven Blood-Stained Orchids <i>(1972) has Carolynn dubbing the voice of renowned stage actress Rossella Falk in the role of a paranoid asylum patient</i>
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<i>Carolynn dubs the voice of the outstanding Florinda Bolkan in Lucio Fulci's unflinching and violent giallo masterpiece</i> Don't Torture a Duckling <i>(1972)</i>
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<i>Yet another enjoyable giallo to feature Carolynn's voice is</i> The Lady in Red Kills Seven Times <i>(1972), in which she dubs the voice of a young Sybil Danning - several years before her breakthrough in American B-movies</i>
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<i>The sex comedy was another popular genre in Italy in the 1970s in which Carolynn's voice talent was frequently employed - for example in</i> Poker in Bed <i>(1974), in which she dubs the voice of character actress Didi Perego</i>
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<i>Carolynn provides the voice of French actress Sabine Sun in the role of a wicked amazon woman in the silly adventure film</i> War Goddess <i>(1974), directed by Sun's husband, British filmmaker Terence Young, who had made three James Bond films before falling out of favor and being forced to spend the remainder of his career doing cheap B-movies throughout Europe</i>
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<i>One of the most famous dubbing performances of Carolynn's career is probably her voicing of Daria Nicolodi in Dario Argento's giallo masterpiece</i> Deep Red <i>(1975). She also dubbed Nicolodi again in Argento's</i> Phenomena <i>(1984)</i>
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<i>Another excellent dubbing performance by Carolynn is as the voice of the seductive and merciless avenger played by Rosemarie Lindt in Joe D'Amato's amazing sexploitation/revenge flick</i> Emanuelle's Revenge <i>(1975)</i>
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<i>In Andrea Bianchi's spectacularly trashy giallo</i> Strip Nude for Your Killer <i>(1975), Carolynn dubs the voice of actress Giuliana Cecchini (a.k.a. Amanda) in the role of a bitchy lesbian model agency boss - one of Carolynn's character specialties</i>
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<i>Another trashy Andrea Bianchi film to feature Carolynn's voice is the tacky sex drama</i> My Father's Wife <i>(1976), in which she dubs the voice of faded Hollywood starlet Carroll Baker. Baker nearly always dubbed her own voice but chose not to do it for this film - presumably because she was embarrassed by her own work, which pretty much consists of her boozing heavily on J&B, getting naked or sobbing hysterically. Carolynn, however has a field day with the trashy dialogue and puts on an enjoyable over the top show</i>
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<i>The silly sex comedy</i> The Lady Medic <i>(1976) features Carolynn dubbing a small but memorable role played by supersized character actress Maria De Sisti</i>
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<i>The violent crime flick</i> Fear in the City <i>(1976) is notable for having Carolynn dub the brief part of an ill-fated transvestite prostitute. Unfortunately, I do not know the name of the actor who plays this role</i>
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<i>The short-lived infamous Nazisploitation sub-genre of the mid to late 1970s made frequent use of Carolynn's talent for voicing nasty villainesses, and in the gritty</i> SS Experiment Love Camp <i>(1976) she dubs Patrizia Melega in the role of a monstruous concentration camp doctor who experiments on the prisoners</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCrzCW2tka9jWvOIt32iG8HLHJWsMu4I8IvVsIIcBVGgdH_k1yPghQ1HsnuIA-mPoDZ5cVT5OeD_J0mcE5q2Lc8jXcnev4DkId0QOXvm2ckyly42Pn6NXBF2YGTwkb2Pp9mLrbdbrPAQ/s1600/Lea+Lander+-+Achtung+The+Desert+Tigers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCrzCW2tka9jWvOIt32iG8HLHJWsMu4I8IvVsIIcBVGgdH_k1yPghQ1HsnuIA-mPoDZ5cVT5OeD_J0mcE5q2Lc8jXcnev4DkId0QOXvm2ckyly42Pn6NXBF2YGTwkb2Pp9mLrbdbrPAQ/s400/Lea+Lander+-+Achtung+The+Desert+Tigers.jpg"></a></div>
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<i>A far campier Nazisploitation effort to feature Carolynn's voice is Luigi Batzella's ridiculous</i> Achtung! The Desert Tigers <i>(1976), in which she employs a thick German accent to dub Lea Lander in the role of sadistic Nazi doctor who also enjoys getting whipped</i>
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<i>The most notorious of all the Nazisploitation films Carolynn worked on was probably</i> The Gestapo's Last Orgy <i>(1976), in which she dubs Maristella Greco in the unforgettable role of a nasty Gestapo woman who enjoys throwing menstruating concentration camp prisoners to her Dobermans</i>
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<i>Who can forget Carolynn's dubbing of Barbara Magnolfi in the small but memorable part of the brassy, serpentine ballerina who befriends Jessica Harper in Dario Argento's horror masterpiece</i> Suspiria <i>(1977)?</i>
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<i>Carolynn was also a heavy presence in the violent crime thrillers of the 1970s - for example as the voice of prolific genre actress Gabriella Giorgelli in Umberto Lenzi's awesome</i> The Cynic, The Rat and the Fist <i>(1977)</i>
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<i>Carolynn dubs the voice of Finnish-born starlet Yanti Somer in Alfonso Brescia's mind-numbingly ridiculous sci-fi adventure</i> Star Odyssey <i>(1978)</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjte641X5ZahVJN8WKe4g5wT8lxxpnKHkMQH2vQNMnlkCvTWSAw79o2AdAkWFrKh4JW3RUSxV0-g8auLEloX8zyHvDZE21XfNjZnqotqHQ-QJ7hExE3i94XF9c0nrkUqSQHUuDl7KCiVZI/s1600/Monica+Vitti+-+Tigers+In+Lipstick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjte641X5ZahVJN8WKe4g5wT8lxxpnKHkMQH2vQNMnlkCvTWSAw79o2AdAkWFrKh4JW3RUSxV0-g8auLEloX8zyHvDZE21XfNjZnqotqHQ-QJ7hExE3i94XF9c0nrkUqSQHUuDl7KCiVZI/s400/Monica+Vitti+-+Tigers+In+Lipstick.jpg"></a></div>
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<i>In Luigi Zampa's anthology comedy</i> Tigers in Lipstick <i>(1979), Carolynn gets the chance to dub the voice of renowned actress Monica Vitti</i>
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<i>Another one of Carolynn's over the top dubbing jobs is in the infamous</i> The Killer Nun <i>(1979), in which she dubs Anita Ekberg - long past her glory days and considerably heavier - in the role of a hysterical, morphine-addicted nun who may or may not be a serial killer</i>
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<i>Another unforgettable dubbing performance was as the voice of the great Franca Stoppi as the deranged housekeeper in Joe D'Amato grisly horror classic</i> Beyond the Darkness <i>(1979)</i>
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It should be noted that although a majority of Carolynn’s voice work was in a long line of B-movies which have since achieved cult status, she also contributed to the English language versions of more prestigious projects – a good example being Federico Fellini’s <i>Amarcord</i> (1973), in which she supplies the voice of the mathematics teacher played by Dina Adorni.
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<i>The brief but notable part of the mathematics teacher in Fellini's</i> Amarcord <i>was one of Carolynn's most prestigious dubbing jobs</i>
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While a great many of the films dubbed by Carolynn De Fonseca were Italian, her voice can also be heard in films from other countries as well. For example, she did a lot of work in several notable Spanish productions, and here are a few examples of her dubbing roles in Spanish films:
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<i>In</i> Return of the Evil Dead <i>(1973), the second installment in Amando De Ossorio's famous horror quadriolgy of</i> The Blind Dead<i>, Carolynn dubs the voice of the film's attractive female lead Esperanza Roy</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7guGrTU68Ey5hxN9IUXxKg-p9TQBuzywL9EUOCY4sFhm4fI0hbIwpDvdYqdJ3015POwJ6orHVein8Bx5f_sRUCTM2GO7BZ9b4ZqtxNYBh4lpOx8BdeHqckvv2bhcbxynQITzOezl-SRg/s1600/Montserrat+Julio+-+Coming+Of+Sin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7guGrTU68Ey5hxN9IUXxKg-p9TQBuzywL9EUOCY4sFhm4fI0hbIwpDvdYqdJ3015POwJ6orHVein8Bx5f_sRUCTM2GO7BZ9b4ZqtxNYBh4lpOx8BdeHqckvv2bhcbxynQITzOezl-SRg/s400/Montserrat+Julio+-+Coming+Of+Sin.jpg"></a></div>
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<i>Carolynn dubs the voice of prolific character actress Montserrat Julio in a small but notable part in José Ramon Larraz's bizarre erotic film</i> The Coming of Sin <i>(1978), also known under the infamous title</i> Violation of the Bitch
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfwd1zaggrwF1xEpn5gRL4epjQ7HQKdujIc4LQo_HQqT80E45iVFXzP5G1ayDS4Jd1JlbexT1cCtcvxKojv_9wwYk6q6Kxm5hivp3znMsLczzxlohTPJyfYRFWMQq8iGtN7cg5tkYt9I/s1600/Sandra+Alberti+-+Satan's+Blood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfwd1zaggrwF1xEpn5gRL4epjQ7HQKdujIc4LQo_HQqT80E45iVFXzP5G1ayDS4Jd1JlbexT1cCtcvxKojv_9wwYk6q6Kxm5hivp3znMsLczzxlohTPJyfYRFWMQq8iGtN7cg5tkYt9I/s400/Sandra+Alberti+-+Satan's%2BBlood.jpg"></a></div>
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<i>The Spanish erotic horror classic</i> Satan's Blood <i>(1978) has Carolynn voicing the prominent part of a sinister woman played by the beautiful Sandra Alberti</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6AwGRXd6IEMhxw9r0FVQXt5yg6tfMyBvGQkjnGocPbJWZZUXbpWeXjvpsJGl_pRNCRV5BCr7ASFsbX_gFn80XXAnGp7bic6i-rpchuSabI53ToTrCx1GfozYXXfQyNhBdnHefvHB7ns/s1600/Hilda+Fuchs+-+Pieces.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6AwGRXd6IEMhxw9r0FVQXt5yg6tfMyBvGQkjnGocPbJWZZUXbpWeXjvpsJGl_pRNCRV5BCr7ASFsbX_gFn80XXAnGp7bic6i-rpchuSabI53ToTrCx1GfozYXXfQyNhBdnHefvHB7ns/s400/Hilda+Fuchs+-+Pieces.jpg"></a></div>
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<i>J.P. Simon's cheesy slasher movie favorite</i> Pieces <i>(1982) features Carolynn as the voice of a nosy college secretary played by actress Hilda Fuchs</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvBU1HSj8WWbCdUZuWcsyZZXMRr4FAGFtYJonQmlRYSAcPzMYR_JO7uP2kaKXXviRPYXaRmzISnkAalCJsiae6UISqFr5vsAohTfRNSNQLDYXiqkca3hWeLzLewiQtBqoFcyd5RBadic/s1600/Victoria+Vera+-+Monster+Dog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvBU1HSj8WWbCdUZuWcsyZZXMRr4FAGFtYJonQmlRYSAcPzMYR_JO7uP2kaKXXviRPYXaRmzISnkAalCJsiae6UISqFr5vsAohTfRNSNQLDYXiqkca3hWeLzLewiQtBqoFcyd5RBadic/s400/Victoria+Vera+-+Monster+Dog.jpg"></a></div>
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<i>In the bizarre Spanish horror film</i> Monster Dog <i>(1984), directed by Italian filmmaker Claudio Fragasso and starring rock singer Alice Cooper, Carolynn dubs the voice of the film's sexy female lead Victoria Vera</i>
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Another Spanish production of particular interest is Eloy de la Iglesia's horror film <i>The Cannibal Man</i> (1971), in which Carolynn dubs no less than three different characters: the barmaid Rosa (Vicky Lagos), ill-fated victim Carmen (Lola Herrera) and the brief part of a woman in soup commercial seen on a television set. It was actually not unheard of for voice actors to dub more than one actor in the same film as long as these were actors who did not appear together in any scenes. <i>The Cannibal Man</i>, however, features some brief overlapping when Rosa the barmaid appears in the same scene in which the woman in the soup commercial is seen on a television set. This actually violates a golden dubbing rule and hence it was something which occurred very rarely, although it did sometimes happen in very cheaply made films which apparently had little resources to spend on dubbing. A notable example is the trashy low-budget hostage drama <i>Escape from Women’s Prison</i> (1978) about a bunch of escaped female convicts who take a team of young female tennis players hostage. Here Carolynn dubs the voice of Marina D’Aunia in the prominent part of an evil and wicked predatory lesbian who preys on the hostages, but she also voices Angela Doria, who plays a smaller part as one the spunky hostages. This inevitably sounds rather awkward in the scenes in which D’Aunia and Doria appear together.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_MNVlGznpopGD7pLghwqfq7aNqa-LzRw5bzljPCYOMbF9qOuhmybEB0WYWOnUyoKBCuM2b2dYx77TRRU3JI0kxqeSF6idLsXtAfn5jl62EmmnkOjoR4kr-OrH0EBNLyxG0mglY7Qeais/s1600/Vicky+Lagos+-+Cannibal+Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_MNVlGznpopGD7pLghwqfq7aNqa-LzRw5bzljPCYOMbF9qOuhmybEB0WYWOnUyoKBCuM2b2dYx77TRRU3JI0kxqeSF6idLsXtAfn5jl62EmmnkOjoR4kr-OrH0EBNLyxG0mglY7Qeais/s400/Vicky+Lagos+-+Cannibal+Man.jpg"></a></div>
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<i>Dubbing role #1 in</i> The Cannibal Man<i>: Vicky Lagos as Rosa</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjE-_GQpl8cfHH1cf1TP6Atww1t0QLau98e8PcpRcotN-c9XkhD27MaChQBYKlcn6E4ljnvH_y4KL3dBiLgRnCZefH6seh5a-0vSPH8sky2WR5iGj8ABLln-fCuSCAwIc3LHq00x-95dE/s1600/Lola+Herrera+-+Cannibal+Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjE-_GQpl8cfHH1cf1TP6Atww1t0QLau98e8PcpRcotN-c9XkhD27MaChQBYKlcn6E4ljnvH_y4KL3dBiLgRnCZefH6seh5a-0vSPH8sky2WR5iGj8ABLln-fCuSCAwIc3LHq00x-95dE/s400/Lola+Herrera+-+Cannibal+Man.jpg"></a></div>
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<i>Dubbing role #2 in</i> The Cannibal Man<i>: Lola Herrera as Carmen</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3qdupogM6PvgD3BXTWjNoyzhc1xXSQL47QOUtNhoCWrUwRXCe5VfF9YTfeNLlBpmaAd9ZUZ5UrAysJyXjvzkPMboF_-w0WxwmwHxd8srymKZ6IxvYWJ2xARpwvT0c2sSxhn3zE6Eg3V0/s1600/Soup+Commercial+-+Cannibal+Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3qdupogM6PvgD3BXTWjNoyzhc1xXSQL47QOUtNhoCWrUwRXCe5VfF9YTfeNLlBpmaAd9ZUZ5UrAysJyXjvzkPMboF_-w0WxwmwHxd8srymKZ6IxvYWJ2xARpwvT0c2sSxhn3zE6Eg3V0/s400/Soup+Commercial+-+Cannibal+Man.jpg"></a></div>
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<i>Dubbing role #3 in</i> The Cannibal Man<i>: The woman in the soup commercial on TV (played by an unidentified actress)</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Tlp2ZvwaHqxaN83KkUuT-OLRSN5oZUK3KIxCEDvKucIU1YfaWPlmOdw5vvNqhkOYhDxvh_OoYPQ2wb1gp3tDrfKLfbmfEJHuDDUY0gVfGj4ZW7iRXievdyqMN4KyfAhz3VdqHkI3ANs/s1600/Marina+D'Aunia+-+Escape+From+Women's+Prison.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Tlp2ZvwaHqxaN83KkUuT-OLRSN5oZUK3KIxCEDvKucIU1YfaWPlmOdw5vvNqhkOYhDxvh_OoYPQ2wb1gp3tDrfKLfbmfEJHuDDUY0gVfGj4ZW7iRXievdyqMN4KyfAhz3VdqHkI3ANs/s400/Marina+D'Aunia%2B-%2BEscape%2BFrom%2BWomen's%2BPrison.jpg"></a></div>
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<i>In</i> Escape from Women's Prison<i>, Carolynn voices the wicked Marina D'Aunia in typically bitchy fashion...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkVxWosUwIqBfi_b8hgnBHKPZxBKDGaAb__4YYN0cNI1PtyChvCF_onwXn3AhpsA36uFZOk87R83ib0iuCvE_9YgeVOIKfoMU__KMBkRnBfCrwJgkL4pqNaoxWNuFwry3EUYRhmCckYlY/s1600/Angela+Doria+-+Escape+From+Women's+Prison.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkVxWosUwIqBfi_b8hgnBHKPZxBKDGaAb__4YYN0cNI1PtyChvCF_onwXn3AhpsA36uFZOk87R83ib0iuCvE_9YgeVOIKfoMU__KMBkRnBfCrwJgkL4pqNaoxWNuFwry3EUYRhmCckYlY/s400/Angela+Doria+-+Escape+From+Women's%2BPrison.jpg"></a></div>
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<i>...but she also lends her voice to Angela Doria as one of the hostage girls</i>
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At the start of the 1980s, Carolynn took up her old job of acting in front of the camera, and she landed small but notable roles in a number of films and television productions. While some of these were Italian in origin, a significant number were American productions shot on location in Rome, and thereby in need of native English speakers in supporting parts.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsWuGzUh3cLKG7FqQtLDiRavyma-SgIB1DqcDH9APzXor2c8w4sfSI4nQDt01_L8uQgFKCcYiuylYajcFxmJNxM2hxr8r78G6nyMaqdwJGHXw_Uk_OUMtaXu-lXOXAt5CgtLmOhKGxwk/s1600/Monsignor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsWuGzUh3cLKG7FqQtLDiRavyma-SgIB1DqcDH9APzXor2c8w4sfSI4nQDt01_L8uQgFKCcYiuylYajcFxmJNxM2hxr8r78G6nyMaqdwJGHXw_Uk_OUMtaXu-lXOXAt5CgtLmOhKGxwk/s400/Monsignor.jpg"></a></div>
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Monsignor <i>(1982), a critically panned Hollywood drama starring Christopher Reeve as an immoral Roman Catholic priest, was filmed entirely in Italy and features Carolynn in a small role as Reeve's secretary</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Uq_J1NUsiZOCYJD_VjMYdToa-5tgp5aICCX-EbbeVVQsP4agO0WylIntvmDcLFuw7e_czmfb9TIw22Yn5Ud6exMfJEtEA76pdVRSVCQckXajT75ObuJtA3EoNCytw9Mxva0PSnIcJfI/s1600/Winds+Of+War.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Uq_J1NUsiZOCYJD_VjMYdToa-5tgp5aICCX-EbbeVVQsP4agO0WylIntvmDcLFuw7e_czmfb9TIw22Yn5Ud6exMfJEtEA76pdVRSVCQckXajT75ObuJtA3EoNCytw9Mxva0PSnIcJfI/s400/Winds+Of+War.jpg"></a></div>
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<i>The expensive and hugely popular all-star cast TV mini series</i> The Winds of War <i>(1983), set during World War II, was partially filmed in Italy and features a nice little role for Carolynn as one of several train passengers who are stopped by Nazi officers on the look-out for Jews on the run</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3CLplnuT347lAtl73x17vztXRwbM6gLVzNiKNOtQGWByIGID2owbCKTjrR_K4qnVKQ7wX_RVA2o6wrSaDOekUhVwoGHDZb1VMvO2Ch5iOsgwK7wruNvJRUeu2I97EW9UeV5HOuyz0cnU/s1600/Lonely+Lady.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3CLplnuT347lAtl73x17vztXRwbM6gLVzNiKNOtQGWByIGID2owbCKTjrR_K4qnVKQ7wX_RVA2o6wrSaDOekUhVwoGHDZb1VMvO2Ch5iOsgwK7wruNvJRUeu2I97EW9UeV5HOuyz0cnU/s400/Lonely+Lady.jpg"></a></div>
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The Lonely Lady <i>(1983) is a widely panned Hollywood production based on a trashy novel by Harold Robbins and starring Pia Zadora as an ill-fortuned young woman who dreams of becoming a successful Hollywood screenwriter. Much of the film was shot in Italy and features a large number of Rome-based dubbing actors in small roles, including Carolynn, who appears briefly as a Hollywood agent</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8V1fIOHI9Mg9waZxIEL_p4LegKwkmst80vh9Q984ONpWgUn_JUbVDV_BzQlMxvUXXedex9P6-BnFaHiIluhjrzfigaR71VSadGOR5oJHhI97On6hD6LSPUJvxVAvrtey1o5TgjHczEoE/s1600/Mussolini+And+I1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8V1fIOHI9Mg9waZxIEL_p4LegKwkmst80vh9Q984ONpWgUn_JUbVDV_BzQlMxvUXXedex9P6-BnFaHiIluhjrzfigaR71VSadGOR5oJHhI97On6hD6LSPUJvxVAvrtey1o5TgjHczEoE/s400/Mussolini+And+I1.jpg"></a></div>
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<i>The Italian TV mini series</i> Mussolini and I <i>(1985) is an expensive production which focuses on Italian dictator Benito Mussolini and his relationship with his family and his mistress. Carolynn appears in a fair supporting role as Giuseppina, the mother of Mussolini's mistress Claretta Petacci</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkrwuxMsl_To1VvMbMJ54WE8h68XLsr4emfHX4ws_XFSt5H3eVwr6faZIT1Zo6T1LOuGqvvKdayEt686DqmU2QBMhKYWuqpeE45aL1Hqiigot2uI0ZHxFRwxPa_Zd_3zmieWImTuEmiQ/s1600/Mussolini+And+I2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkrwuxMsl_To1VvMbMJ54WE8h68XLsr4emfHX4ws_XFSt5H3eVwr6faZIT1Zo6T1LOuGqvvKdayEt686DqmU2QBMhKYWuqpeE45aL1Hqiigot2uI0ZHxFRwxPa_Zd_3zmieWImTuEmiQ/s400/Mussolini+And+I2.jpg"></a></div>
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<i>Another scene from the mini series</i> Mussolini and I <i>featuring Carolynn and her real-life husband Ted Rusoff as the parents of Claretta Petacci together with Bob Hoskins in the role of Mussolini</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp1vDyTtYd-Y64Gz3ymhZENUY3be7A14n7qkgSE925t3-XWJr4WRKZHknVe-xfUAnC01qmcGD0NC77jeBhWXi0B3VgS7r4IxUV27RV4mQTqOpyWmybgMyKU7icZlFPaMNQ3w4oYY_Sf6s/s1600/Mussolini+And+I3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp1vDyTtYd-Y64Gz3ymhZENUY3be7A14n7qkgSE925t3-XWJr4WRKZHknVe-xfUAnC01qmcGD0NC77jeBhWXi0B3VgS7r4IxUV27RV4mQTqOpyWmybgMyKU7icZlFPaMNQ3w4oYY_Sf6s/s400/Mussolini+And+I3.jpg"></a></div>
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<i>Ted and Carolynn in an emotional scene in</i> Mussolini and I <i>together with actress Barbara De Rossi in the role of Claretta Petacc</i>i
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxqLhHERTGhQBkh3fih4QyYby2iBm3vaQYlWhFtwsfamNL-DToIt96DEDkB2R6nMXbAIwFjxMvlNnCWbTa-EbGa7H8i3TfbjCFrmFjsQWHrTUxEuaJpWBuY1KFLPpqCS3011LUz-CCCqs/s1600/Detective+School.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxqLhHERTGhQBkh3fih4QyYby2iBm3vaQYlWhFtwsfamNL-DToIt96DEDkB2R6nMXbAIwFjxMvlNnCWbTa-EbGa7H8i3TfbjCFrmFjsQWHrTUxEuaJpWBuY1KFLPpqCS3011LUz-CCCqs/s400/Detective+School.png"></a></div>
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Detective School Dropouts <i>(1986), an American-Italian action comedy produced by the Cannon Group, features Carolynn in a comedic role as an unfortunate tourist</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7uuyqP3rwo9fT66_7bIyS-ssjmFcItKKhW3N2JF8r75yByvaj7-eyFTjzcOh0J71fFX3840cAx3yDoDfgyMIz3405ArwGntuCLtAUBz2tFBXvshMNhjBOYCoX9kC_hZzjUpPivGTFfA/s1600/Fifth+Missile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7uuyqP3rwo9fT66_7bIyS-ssjmFcItKKhW3N2JF8r75yByvaj7-eyFTjzcOh0J71fFX3840cAx3yDoDfgyMIz3405ArwGntuCLtAUBz2tFBXvshMNhjBOYCoX9kC_hZzjUpPivGTFfA/s400/Fifth+Missile.jpg"></a></div>
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<i>Another production to feature Carolynn is the American TV movie thriller</i> The Fifth Missile <i>(1986), which was filmed largely in Italy. The films deals with an American ballistic missile submarine crew who start to go insane after being exposed to dangerous chemicals in paint onboard, and thus making them liable to start a nuclear war. Carolynn appears in a nice supporting role as the neighbor of a crew member - providing some assistance to Sam Waterston's character, who is trying to investigate the strange behavior of the submarine crew</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifySh7xfn-w7YXUqigHMx60SJFthyphenhyphenhKbxn8MGzfdGJOo4dfzl2NR_v3liNvDbYJo6AlIMNQXe9fhA4L5hPprPNoJ_bQ8vdq6MZs34iBmfyv4gJ4QBhy4zjGv8wQlH_buSO7jeavXC5-Jo/s1600/Teresa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifySh7xfn-w7YXUqigHMx60SJFthyphenhyphenhKbxn8MGzfdGJOo4dfzl2NR_v3liNvDbYJo6AlIMNQXe9fhA4L5hPprPNoJ_bQ8vdq6MZs34iBmfyv4gJ4QBhy4zjGv8wQlH_buSO7jeavXC5-Jo/s400/Teresa1.jpg"></a></div>
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<i>In Dino Risi's comedy</i> Teresa <i>(1987), Carolynn appears in a fairly prominent role as Brunhilde, a brusque and intimidating German noblewoman who does not approve of her old, foolish brother's plans to marry the voluptuous, young Teresa (played by sexy starlet Serena Grandi)</i>
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<i>Carolynn together with Robert Spafford, who plays her brother in the film</i> Teresa<i>. Spafford was a fellow dubbing actor and worked with Carolynn on numerous projects</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohhtveC0ye3ospLrQ5lEJ6m3E53yrDOPcr8HzucyLNZEFUotJeO7kERWW1EHBNep3m47EqX_0GsIzJFY4kARCcAuLfL8855LS9lTpidNkkDxHRNNmqQHWYbhgx9meE4_r1tCePQsfecQ/s1600/Ocean1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohhtveC0ye3ospLrQ5lEJ6m3E53yrDOPcr8HzucyLNZEFUotJeO7kERWW1EHBNep3m47EqX_0GsIzJFY4kARCcAuLfL8855LS9lTpidNkkDxHRNNmqQHWYbhgx9meE4_r1tCePQsfecQ/s400/Ocean1.jpg"></a></div>
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<i>Ruggero Deodato's expensive but barely released TV mini series</i> Ocean <i>(1989) showcases Carolynn as a brothel madam in what is probably one the most substantial on-screen roles of her career</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM3q4gycoUwVqVXaz0Y6HWyPoMh1oIiKI3xsW0Lbf_I_yjlqaYAAagSV0us6t73WccBLD88SfBUk9hkTHxlg2J3VYp1CkUOkSOK54e_-fkJe4tuylphyphenhyphen6Y5QQbrHE8h2mUsZXr4mg9_c0/s1600/Ocean2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM3q4gycoUwVqVXaz0Y6HWyPoMh1oIiKI3xsW0Lbf_I_yjlqaYAAagSV0us6t73WccBLD88SfBUk9hkTHxlg2J3VYp1CkUOkSOK54e_-fkJe4tuylphyphenhyphen6Y5QQbrHE8h2mUsZXr4mg9_c0/s400/Ocean2.jpg"></a></div>
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<i>Carolynn in another scene from the mini series</i> Ocean
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<i>Carolynn in a scene together with well-known actor Mario Adorf in</i> Ocean
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NVddIJ7VBF6GqodSQnBWHezjbCGeLlY8xwZ5LP61WrKKl_v1xckYnTdJFGhq_OmOGGPde_Z1cw-OWiF_ghgGwpz7gAHZhJG-0_FUmVUtlgJFt0MUadfoT8Xpx0A_KDJ8dILu5imP_7E/s1600/Sheltering+Sky1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NVddIJ7VBF6GqodSQnBWHezjbCGeLlY8xwZ5LP61WrKKl_v1xckYnTdJFGhq_OmOGGPde_Z1cw-OWiF_ghgGwpz7gAHZhJG-0_FUmVUtlgJFt0MUadfoT8Xpx0A_KDJ8dILu5imP_7E/s400/Sheltering+Sky1.jpg"></a></div>
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<i>Carolynn also has a notable role in Bernardo Bertolucci's</i> The Sheltering Sky <i>(1990), where she appears as a representative from the American embassy who comes to bring Debra Winger's character back to civilization near the end of the film</i>
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<i>Carolynn with Debra Winger in a scene from</i> The Sheltering Sky
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Still, dubbing would remain Carolynn’s primary job and throughout the 1980s she would continue to lend her unmistakable voice to a series of leads and villainesses in numerous films which have since become beloved cult classics.
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One of Carolynn’s most notorious dubbing performances from the 1980s is no doubt in Andrea Bianchi’s gory and absurdly silly zombie horror movie <i>The Nights of Terror</i> (1981), in which she dubs the voice of Mariangela Giordano in the role of Evelyn, a buxom, fortyish and frequently hysterical socialite with an uncannily intimate relationship with her creepy teenage son but who nevertheless knows how to wield a machete and kick some zombie ass! Pretty much every review that I have come cross of this film makes a great point of how ridiculous and downright terrible the English dubbing is, and there is no denying that the dialogue is indeed laughable. Particular criticism has been leveled at Carolynn’s dubbing of Mariangela Giordano, which is in essence a non-stop parade of hysterical and over the top camp histrionics. What most of the people who bash this dub job fail to see, however, is the fact that Mariangela Giordano’s acting is just that: a non-stop parade of hysterical and over the top camp histrionics. As such, Carolynn’s dubbing is actually very much in keeping with what you see on screen. A lot of voice actors would just lazily go through the motions when faced with having to dub something as laughably idiotic as <i>The Nights of Terror</i> (just take a look at the English versions of most of Jess Franco’s 1980s films) but Carolynn decided to go all in and do her best to replicate the absurd on-screen insanity in her vocal performance, and for that I think she should be commended!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBM_yprxqfDDCEQFX3UCNhKt-dgmsjNq0by7f8_7kvaZK539xAg9oKV95cSDMlkYa0R4PjSPnAztt5cNgrVdYJdvkSQd-YhOi_LOV0AKQSnVQvUsBHA_MCUicY2OzVwhZ6-jhbAYT_9nk/s1600/Mariangela+Giordano+-+Night+Of+Terror1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBM_yprxqfDDCEQFX3UCNhKt-dgmsjNq0by7f8_7kvaZK539xAg9oKV95cSDMlkYa0R4PjSPnAztt5cNgrVdYJdvkSQd-YhOi_LOV0AKQSnVQvUsBHA_MCUicY2OzVwhZ6-jhbAYT_9nk/s400/Mariangela+Giordano+-+Night+Of+Terror1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_xcoAVnC1iwaSEt9LpbVn2an7Ms84cfyOvJMQxpjtkFsTifG9p9O9SIphUbsARGVCWSFuVhZk5xmxp3yEhUNVSlXUp3t6l61Fq7_KlTTzf-iRpnqbzkxB4FKAto1YY-VF8emD72LA5Y/s1600/Mariangela+Giordano+-+Night+Of+Terror2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_xcoAVnC1iwaSEt9LpbVn2an7Ms84cfyOvJMQxpjtkFsTifG9p9O9SIphUbsARGVCWSFuVhZk5xmxp3yEhUNVSlXUp3t6l61Fq7_KlTTzf-iRpnqbzkxB4FKAto1YY-VF8emD72LA5Y/s400/Mariangela+Giordano+-+Night+Of+Terror2.jpg"></a></div>
<i>Mariangela Giordano in hysterical mode in</i> The Nights of Terror
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Throughout the 1980s, Carolynn kept herself busy dubbing all kinds of films - be it gory horror movies, sleazy W.I.P. flicks, silly barbarian adventures, steamy sexploitation fare and much more. Below are a few memorable selections:
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH3oOcygUlUuwj0z3Om4CWEbFuFukbdaYN9JQv5JgGai9_yGhb4c4uKgPoYaN2kaBWRJPjge9hEUK_fuigi1QP15RrWXVy1aKd1yJrzbFbUfWJoKAehs-V8ZHLuJnUVe-HBVTBS34sNbQ/s1600/Licinia+Lentini+-+Day+Of+The+Cobra1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH3oOcygUlUuwj0z3Om4CWEbFuFukbdaYN9JQv5JgGai9_yGhb4c4uKgPoYaN2kaBWRJPjge9hEUK_fuigi1QP15RrWXVy1aKd1yJrzbFbUfWJoKAehs-V8ZHLuJnUVe-HBVTBS34sNbQ/s400/Licinia+Lentini+-+Day+Of+The+Cobra1.jpg"></a></div>
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<i>One of Carolynn's more bizarre dubbing performances from the 1980s is no doubt in Enzo G. Castellari's crime thriller</i> The Day of the Cobra <i>(1980), where Carolynn dubs the voice of actress Licinia Lentini in the part of a feisty and wicked drug-addicted baddie named Lola</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9ir4pRZPtQehG3CVTuyJemixUf5128oYncl5sQVoLMOdAHiEfQb2-ctB89Qq5MvSLFT2FLu_4sNwdwhj6k37rlDzPpaoAQepz_rc3Sk8NCg9oWgqhoIw2-VkjTw5l5lbGhzRjpF8UR8/s1600/Licinia+Lentini+-+Day+Of+The+Cobra2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9ir4pRZPtQehG3CVTuyJemixUf5128oYncl5sQVoLMOdAHiEfQb2-ctB89Qq5MvSLFT2FLu_4sNwdwhj6k37rlDzPpaoAQepz_rc3Sk8NCg9oWgqhoIw2-VkjTw5l5lbGhzRjpF8UR8/s400/Licinia+Lentini+-+Day+Of+The+Cobra2.jpg"></a></div>
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<i>In the film's most memorable sequence by far, Lola and the film's lead (played by the great Franco Nero) get into a fight in an empty disco...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRk4CNWHRo3onVPWCmrtmlYtlqxbgiIlziep7xAjdu_lqg9Gh0Drb4lmZla4BjPQNTUzudXG9mjXUqgeRngEJtTQkGZQPGNr4iiPLW6vCFPRcaEq2yjmN8uCQjjic-DFr-NUnkUICvTkM/s1600/Licinia+Lentini+-+Day+Of+The+Cobra3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRk4CNWHRo3onVPWCmrtmlYtlqxbgiIlziep7xAjdu_lqg9Gh0Drb4lmZla4BjPQNTUzudXG9mjXUqgeRngEJtTQkGZQPGNr4iiPLW6vCFPRcaEq2yjmN8uCQjjic-DFr-NUnkUICvTkM/s400/Licinia+Lentini+-+Day+Of+The+Cobra3.jpg"></a></div>
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<i>...and things get even weirder as Franco Nero pulls off Lola's wig and discovers that she is actually a man! While the androgynous-looking Licinia Lentini played the character for most of the film, stuntman Claudio Pacifico takes over the part after Lola's wig comes off. This marks the third time that Carolynn is selected to dub a transsexual character - following</i> Password: Kill Agent Gordon <i>in 1966 and</i> Fear in the City <i>in 1976</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDnLACIl45pxyCLY2S1SLG5HfLpi_7FMc0-2NFrJ3K8XTmcUeCTZ0iJ5mRhe0_F_NI1Z4hzu7lnylhLFtWGaq4jwDvfXf6v1BnXY-boClM0SV8vH2L8oQLOOq0GsmLgapRvUGkv76OhZg/s1600/Bernice+Stegers+-+Macabre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDnLACIl45pxyCLY2S1SLG5HfLpi_7FMc0-2NFrJ3K8XTmcUeCTZ0iJ5mRhe0_F_NI1Z4hzu7lnylhLFtWGaq4jwDvfXf6v1BnXY-boClM0SV8vH2L8oQLOOq0GsmLgapRvUGkv76OhZg/s400/Bernice+Stegers+-+Macabre.jpg"></a></div>
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<i>In Lamberto Bava's underrated horror film</i> Macabre <i>(1980), Carolynn dubs British actress Bernice Stegers in a New Orleans accent</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNXZII4N0E5TSBJ3r5kUbh2iKfb1idF6B17uYxXASVMaJtUOC9E680GvwX479H2G690l2nHNuU0HWH_IXuuOah4QUSxhhnKEdNhPhL_M8Sy6sW-dxmbgN2KRTUU3NE_1vdRDSejNO6OhE/s1600/Alida+Valli+-+Inferno.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNXZII4N0E5TSBJ3r5kUbh2iKfb1idF6B17uYxXASVMaJtUOC9E680GvwX479H2G690l2nHNuU0HWH_IXuuOah4QUSxhhnKEdNhPhL_M8Sy6sW-dxmbgN2KRTUU3NE_1vdRDSejNO6OhE/s400/Alida+Valli+-+Inferno.jpg"></a></div>
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<i>Carolynn dubs the voice of legendary actress Alida Valli in Dario Argento's horror classic</i> Inferno <i>(1980)</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNsqR4hahTsjuEbF9moJPAqrS7RCg9N9RKodXnKrbOXfvxS3wEgM9lAQrpSj2DG6q5cFwHbPNdzvBBYDVyj_frJdOVQH-7gD7C70migqaVwspgfZa4yObYl4F8XcOGZ4aEfeBB2TRZfI/s1600/Tisa+Farrow+-+Antropophagus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNsqR4hahTsjuEbF9moJPAqrS7RCg9N9RKodXnKrbOXfvxS3wEgM9lAQrpSj2DG6q5cFwHbPNdzvBBYDVyj_frJdOVQH-7gD7C70migqaVwspgfZa4yObYl4F8XcOGZ4aEfeBB2TRZfI/s400/Tisa+Farrow+-+Antropophagus.jpg"></a></div>
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<i>Tisa Farrow apparently didn't bother to dub herself in Joe D'Amato's gory horror hit</i> Antropophagus <i>(1980) so Carolynn was called in to do the job</i>
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<i>Carolynn provides dubbing for Joe D'Amato again in his disappointing horror/porn hybrid</i> Sexy Nights of the Living Dead <i>(1980), in which she dubs the voice of D'Amato regular Dirce Funari</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqbZ1xp0FngxIJcOqrzCiiqMqtdslE1DngbcPJq1wVNUi8c2hPnLlNuJtrazX90YM-w846ROKTrwXcC04ARlJzVFwQB7SNSrZGlALQTIfb6c2BsHjE9_DGw__kXItrmHlMGgZjcrlDpBQ/s1600/Carole+Davies+-+Piranha+Part+Two.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqbZ1xp0FngxIJcOqrzCiiqMqtdslE1DngbcPJq1wVNUi8c2hPnLlNuJtrazX90YM-w846ROKTrwXcC04ARlJzVFwQB7SNSrZGlALQTIfb6c2BsHjE9_DGw__kXItrmHlMGgZjcrlDpBQ/s400/Carole+Davies+-+Piranha+Part+Two.jpg"></a></div>
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<i>One film in which Carolynn's voice makes a surprising appearance is the American horror film</i> Piranha Part Two: The Spawning <i>(1981), the directorial debut of James Cameron! Although an American production with an all American cast, the film's producer was the Italian Ovidio G. Assonitis, who took the film to Rome for post-production and re-editing. This meant that some supporting actors who were unavailable to re-dub part of their dialogue in Rome had to be entirely re-dubbed. That was the case with actress Carole Davies, who plays a fairly big part as a bitchy sunbather. Her performance was re-dubbed from scratch by Carolynn</i>
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<i>Joe D'Amato's ridiculous barbarian adventure</i> Ator the Fighting Eagle <i>(1982) features Carolynn as the voice of softcore sex queen Laura Gemser in the role of an evil, seductive sorceress</i>
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Ninja Strikes Back <i>(1982) is a cheap Hong Kong action movie starring the infamous Bruce Lee clone Bruce Le and produced by exploitation genius Dick Randall. Since Randall was based in Italy, the film was partially shot in Rome and also dubbed there. Consequently, Carolynn was brought in to dub the fiery-haired female lead played by Randall's wife, Corliss, who is credited under the awesome pseudonym "Chick Norris"</i>
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<i>Carolynn's voice talent was also in frequent demand in W.I.P. flicks, and in Bruno Mattei's impressively sleazy</i> Violence in a Women's Prison <i>(1982) she puts on a great and delightfully exaggerated performance as the voice of the prison's requisite nasty bulldyke Hertha, played by former pornographic actress Françoise Perrot</i>
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<i>An even sleazier W.I.P. trash masterpiece to feature a terrific over the top voice performace by Carolynn is Bruno Mattei's infamous</i> Blade Violent <i>(1983) where Carolynn dubs the voice of Ursula Flores in the role of deranged and sadistic inmate Albina, and gets to utter such immortal lines as "Take my advice and die!" and "I'll put a stop to your arrogance, you haughty hottentot!"</i>
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<i>Blade Violent</i> is a truly spectacular slice of grade Z nonsense in which the hysterical and unconvincgly synchronized dubbing adds an extra layer of fun to the all-around campy and exaggerated acting. To fully take in the awesomeness of this inspiredly demented a schlock I think a YouTube clip of the film's most ridiculous dialogue exchange is required:
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<i>Yet another Bruno Mattei film in which Carolynn's voice makes an appearance is</i> The Seven Magnificent Gladiators <i>(1983) in which she dubs thoe voice of British model-actress Mandy Rice-Davies, best known for her role in the 1963 Profumo scandal which brought down Britain's conservative government</i>
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<i>In</i> The Throne of Fire <i>(1983), Carolynn dubs the film's leading lady Sabrina Siani, who made a career out of starring in such silly barbarian adventures</i>
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<i>In the enjoyable low-budget post apocalypse adventure</i> The Final Executioner <i>(1983), Carolynn dubs the role of sadistic villainess Edra, played by the little-known Marina Costa. She later dubbed Costa again in Antonio Margheriti's adventure flick</i> Jungle Raiders <i>(1985)</i>
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<i>In</i> Hanna D. - The Girl from Vondel Park <i>(1984), a sleazy Italian rip-off of</i> Christiane F. <i>(1981), Carolynn's dubs the voice of the heroine's mother, a sobbing, alcoholic wreak played by German actress Karin Schubert. Once a big star, Schubert's career was in shambles at the time - prompting her to embark on a career in hardcore porn the following year</i>
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<i>Yet another sleazy W.I.P. movie that Carolynn worked on was</i> Women in Fury <i>(1985), in which she dubs the voice of Brazilian character actress Zeni Pereira in the role of a supersized and intimidating-looking bulldyke who befriends the film's heroine</i>
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<i>The trashy and violent jungle adventure</i> Massacre in Dinosaur Valley <i>(1985) features Carolynn as the voice of actress Marta Anderson in the role of an insufferably bitchy and hysterical woman</i>
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<i>Lucio Fulci's offbeat erotic thriller</i> The Devil's Honey <i>(1986) has Carolynn dubbing the voice of former James Bond girl Corinne Clery in the role of the protagonist's unsatisfied wife</i>
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<i>By the late 1980s, low-budget grade Z nonsense seemed to take up more and more of Carolynn's output, such as the trashy post apocalypse adventure</i> Urban Warriors <i>(1987), in which she dubs the role of the sexy Malisa Longo</i>
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<i>In the 13-episode TV series</i> Valentina <i>(1989), based on the famous comic series by Guido Crepax, Carolynn can be heard in the ninth episode entitled "Rembrandt and the Witches", in which she dubs actress Margareta Von Krauss in the role of a mysterious witch</i>
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<i>In Antonio Margheriti's environmentally friendly but terribly lackluster sci-fi/horror flick</i> Alien from the Deep <i>(1989), Carolynn dubs the film's female lead Marina Giulia Cavalli. That same year she also dubbed Cavalli in the middling giallo</i> Fashion Crimes <i>and Umberto Lenzi's TV horror movie</i> The House of Witchcraft
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After nearly 30 years in the business, Carolynn was still dubbing female leads in the late 1980s, even though, truthfully, she wasn’t always the right choice for those parts. A great example of this would be when the then 59-year old Carolynn was chosen to dub the voice of 23-year old actress Lara Wendel in the low-grade horror film <i>The Red Monks</i> (1988). There is just no way for that to not sound awkward no matter how talented you are, and consequently, Carolynn made the right decision by moving on to voice character parts as the 1990s hit.
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<i>In Lucio Fulci's penultimate film, the horror flick</i> Voices from Beyond <i>(1991), Carolynn dubs actress Frances Nacman in appropriately bitchy and nasty fashion</i>
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<i>Aldo Lado's little-known giallo</i> Circle of Fear <i>(1992) features Carolynn as the voice of an imperiled lawyer played by Carla Cassola</i>
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<i>The 90s giallo</i> Crime of Passion <i>(1994) has Carolynn dubbing the voice of the great Florinda Bolkan. Carolynn was doing Bolkan's voice in several films during this period, including</i> Millions <i>(1990) and</i> The Strange Story of Olga O. <i>(1995)</i>
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<i>The obscure TV movie thriller</i> Witness Run <i>(1996) features Carroll Baker in her final Italian production. She plays the ambitious and diabolical mother of a US senator but didn't stay around to dub her own voice, so that job instead went to Carolynn</i>
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Due to my very limited interest in Italian productions from the 1990s and beyond, I cannot really offer a lot of insight into the dubbing work Carolynn did in that period, and 1996’s <i>Witness Run</i> remains the most recent film in which I’ve discovered her voice. I believe she continued to work for some time after that but, sadly, Carolynn’s health eventually started to decline and she passed away in 2009 at age 80. But her vast and invaluable contributions to the English dubbing scene in Rome have ensured that Carolynn De Fonseca will not be forgotten any time soon.
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I am going to cap off this tribute to Carolynn with a long and extensive dubbing filmography which I have carefully compiled over a number of years of watching Italian movies. Considering that she worked on more than a 1000 films, it goes without saying that my list of 421 credits is very much incomplete. It’s really just the tip of the iceberg, but I still think it’s a nice way to honor this great and insanely prolific voice actress. Also, I’ll continue to update the list as I discover new dubbing parts, so it will get more extensive with time. Do note that I omitted a couple of films where she only did background voices or only had a single line as I don’t consider that to be particularly noteworthy. I’ve listed the names of the actresses she dubbed in each film but in the few instances where I was unable to identify the actress I just wrote the character name in quotes instead. Anyway, without further ado, here is the list and I hope you enjoy it:
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<h3>
<b>List of dubbing credits</b> (421 titles)
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<br />
Violette Marceau in <b>DUEL OF THE CHAMPIONS</b> (1961)
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Ornella Vanoni in <b>DUEL OF THE TITANS</b> (1961)
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Luciana Angiolillo in <b>HERCULES CONQUERS ATLANTIS</b> (1961)
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Ely Drago in <b>HERCULES IN THE CENTER OF THE EARTH</b> (1961)
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Moira Orfei in <b>MOLE MEN AGAINST THE SON OF HERCULES</b> (1961)
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Giulia Rubini in <b>RAGE OF THE BUCCANEERS</b> (1961)
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Lidia Alfonsi in <b>THE TROJAN HORSE</b> (1961)
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Moira Orfei in <b>URSUS IN THE VALLEY OF THE LIONS</b> (1961)
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'Leonore McDonald' in <b>WEREWOLF IN A GIRL'S DORMITORY</b> (1961)
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Tina Gloriani in <b>FURY OF ACHILLES</b> (1962)
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Moira Orfei in <b>KERIM, SON OF THE SHEIK</b> (1962)
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Mara Berni in <b>MACISTE AGAINST THE SHEIK</b> (1962)
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Claudia Mori in <b>THE MAGNIFICENT ADVENTURER</b> (1963)
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Cristina Gaioni in <b>THE SLAVE GIRLS OF SHEBA</b> (1963)
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Janine Hendy in <b>THOR AND THE AMAZON WOMEN</b> (1963)
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Bella Cortez in <b>TOR – MIGHTY WARRIOR</b> (1963)
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Daliah Lavi in <b>THE WHIP AND THE BODY</b> (1963)
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Bella Cortez in <b>ALI BABA AND THE SEVEN SARACENS</b> (1964)
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Jayne Mansfield in <b>DOG EAT DOG</b> (1964)
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Ingrid Thulin in <b>GAMES OF DESIRE</b> (1964)
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Lisa Gastoni in <b>GENTLEMEN OF THE NIGHT</b> (1964)
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Nicole Tessier in <b>THE GIANTS OF ROME</b> (1964)
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Jany Clair in <b>HERCULES AGAINST THE MOON MEN</b> (1964)
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Claude Dantes in <b>THE HYENA OF LONDON</b> (1964)
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Lina Alberti in <b>THE LAST GUN</b> (1964)
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Franca Bettoja in <b>THE LAST MAN ON EARTH</b> (1964)
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Barbara Steele in <b>THE LONG HAIR OF DEATH</b> (1964)
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Dada Gallotti in <b>THE LOST TREASURE OF THE AZTECS</b> (1964)
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Jayne Mansfield in <b>PRIMITIVE LOVE</b> (1964)
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Hélène Chanel in <b>SAMSON AND THE MIGHTY CHALLENGE</b> (1964)
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Lisa Donzell in <b>TARZAK AGAINST THE LEOPARD'S MEN</b> (1964)
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Nadia Gray in <b>ADVENTURER OF TORTUGA</b> (1965)
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Moa Tahi in <b>BLOODY PIT OF HORROR</b> (1965)
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Fulvia Franco in <b>A COFFIN FOR THE SHERIFF</b> (1965)
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Luisa Rispoli in <b>DESPERATE MISSION</b> (1965)
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Anita Todesco in <b>THE EMBALMER</b> (1965)
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Marilù Tolo in <b>ESPIONAGE IN LISBON</b> (1965)
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Perla Cristal in <b>ESPIONAGE IN TANGIERS</b> (1965)
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Cristina Gaioni in <b>FIRE OVER ROME</b> (1965)
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Lucretia Love in <b>FROM ISTANBUL, ORDERS TO KILL</b> (1965)
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Halina Zalewska in <b>GIANT OF THE EVIL ISLAND</b> (1965)
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Gia Sandri in <b>HERCULES THE AVENGER</b> (1965)
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Leontine May in <b>PASSPORT TO HELL</b> (1965)
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Marianne Koch in <b>A PLACE CALLED GLORY</b> (1965)
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Rosanna Schiaffino in <b>RED DRAGON</b> (1965)
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'Fleming's lover' in <b>SECRET AGENT FIREBALL</b> (1965)
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Daniela Bianchi in <b>SLALOM</b> (1965)
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Dina De Santis in <b>SUPERSEVEN CALLING CAIRO</b> (1965)
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Barbara Steele in <b>TERROR CREATURES FROM THE GRAVE</b> (1965)
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Pamela Tudor in <b>$100.000 FOR LASSITER</b> (1966)
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Liana Orfei in <b>BORMAN</b> (1966)
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Liana Orfei in <b>DIAMONDS ARE A MAN'S BEST FRIEND</b> (1966)
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Margaret Lee in <b>DJURADO</b> (1966)
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Margaret Lee in <b>KILLER'S CARNIVAL</b> (1966)
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Wandisa Guida in <b>KILLERS ARE CHALLENGED</b> (1966)
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Françoise Prevost in <b>THE MURDER CLINIC</b> (1966)
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Maria Badmajew in <b>OUR MAN IN CASABLANCA</b> (1966)
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Franco Ressel in <b>PASSWORD: KILL AGENT GORDON</b> (1966)
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Hélène Chanel in <b>RING AROUND THE WORLD</b> (1966)
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Valeria Fabrizi in <b>RINGO AND HIS GOLDEN PISTOL</b> (1966)
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Marisa Mell in <b>SECRET AGENT SUPER DRAGON</b> (1966)
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Gina Rovere in <b>SUGAR COLT</b> (1966)
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Loredana Nusciak in <b>SUPERARGO AGAINST DIABOLICUS</b> (1966)
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Rada Rassimov in <b>A TASTE FOR KILLING</b> (1966)
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Cina Doren in <b>A TICKET TO DIE</b> (1966)
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Linda Sini in <b>THE WAR OF THE PLANETS</b> (1966)
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Rosanna Schiaffino in <b>THE WITCH</b> (1966)
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Hélène Chanel in <b>32 CALIBER KILLER</b> (1967)
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Silvia Solar in <b>AGENT SIGMA 3</b> (1967)
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Anna Zinnemann in <b>AVENGER X</b> (1967)
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Femi Benussi in <b>BORN TO KILL</b> (1967)
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Dana Ghia in <b>THE DIRTY OUTLAWS</b> (1967)
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Lidia Alfonsi in <b>FACE TO FACE</b> (1967)
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Seyna Seyn in <b>FLASHMAN</b> (1967)
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Gina Rovere in <b>GOD FORGIVES... I DON'T!</b> (1967)
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Sarah Ross in <b>THE GREATEST ROBBERY IN THE WEST</b> (1967)
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Linda Veras in <b>GUNGALA, VIRGIN OF THE JUNGLE</b> (1967)
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Rosalba Neri in <b>HOT DIAMONDS IN COLD BLOOD</b> (1967)
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Maria Silva in <b>KILL THE WICKED</b> (1967)
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Lola Falana in <b>LOLA COLT</b> (1967)
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Karin Skarreso in <b>LSD – FLESH OF THE DEVIL</b> (1967)
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Ingrid Schoeller in <b>MISSION PHANTOM</b> (1967)
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Ann Smyrner in <b>MISSION STARDUST</b> (1967)
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Halina Zalewska in <b>THE SNOW DEVILS</b> (1967)
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Eleonora Bianchi in <b>TURN... I'LL KILL YOU</b> (1967)
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Gabriella Giorgelli in <b>THE TWO FACES OF THE DOLLAR</b> (1967)
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Maria Martin in <b>DEAD MEN DON’T COUNT</b> (1968)
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Anita Ekberg in <b>DEATH KNOCKS TWICE</b> (1968)
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Claudie Lange in <b>FULL HOUSE FOR THE DEVIL</b> (1968)
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Agnes Spaak in <b>GOD MADE THEM... I KILL THEM</b> (1968)
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Marisa Merlini in <b>THE GREAT SILENCE</b> (1968)
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Stefania Careddu in <b>JOHNNY HAMLET</b> (1968)
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Daniela Bianchi in <b>THE LAST CHANCE</b> (1968)
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Evelyn Stewart in <b>A NAME THAT CRIED REVENGE</b> (1968)
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Linda Veras in <b>RUN, MAN, RUN</b> (1968)
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Rossella Falk in <b>RUN, PSYCHO, RUN</b> (1968)
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Cristina Penz in <b>STRANGER, SAY YOUR PRAYERS</b> (1968)
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Erika Blanc in <b>VENGEANCE IS MY FORGIVENESS</b> (1968)
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Bruna Simionato in <b>VIVA DJANGO</b> (1968)
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Narrator/Jayne Mansfield in <b>THE WILD, WILD WORLD OF JAYNE MANSFIELD</b> (1968)
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Madiha Kamel in <b>BATTLE OF THE DAMNED</b> (1969)
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Barbara Carroll in <b>DEATH ON HIGH MOUNTAIN</b> (1969)
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Gloria Osuna in <b>HELL COMMANDOS</b> (1969)
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Lucia Modugno in <b>ISABELLA, DUCHESS OF THE DEVILS</b> (1969)
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Igli Villani in <b>THE LAW OF VIOLENCE</b> (1969)
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Chelo Alonso in <b>NEST OF VIPERS</b> (1969)
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Franca Licastro in <b>SHADOW OF SARTANA... SHADOW OF YOUR DEATH!</b> (1969)
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Nathalie Delon in <b>THE SISTERS</b> (1969)
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Ingrid Schoeller in <b>THEY PAID WITH BULLETS</b> (1969)
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Rosalba Neri and Helena Ronee in <b>THE TOUGH AND THE MIGHTY</b> (1969)
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Margaret Lee in <b>VENUS IN FURS</b> (1969)
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Françoise Prevost in <b>A WOMAN ON FIRE</b> (1969)
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Linda Veras in <b>CHAPAGUA'S GOLD</b> (1970)
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Eva Renzi in <b>DEATH OCCURRED LAST NIGHT</b> (1970)
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'First female victim' in <b>THE HORRIBLE SEXY VAMPIRE</b> (1970)
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'Francesca's mother' in <b>THE MOST BEAUTIFUL WIFE</b> (1970)
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Evelyn Stewart in <b>QUEENS OF EVIL</b> (1970)
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Helga Liné in <b>A PRESENT FOR YOU AMIGO... A COFFIN FROM SARTANA</b> (1970)
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Pamela Tudor in <b>SARTANA IN THE VALLEY OF DEATH</b> (1970)
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Erika Blanc in <b>SARTANA'S HERE... TRADE YOUR PISTOL FOR A COFFIN!</b> (1970)
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Daniela Giordano in <b>SHADOW OF ILLUSION</b> (1970)
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Femi Benussi in <b>THREE SUPERMEN IN THE JUNGLE</b> (1970)
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Gabriella Stivaletto in <b>WHEN THE BELL TOLLS</b> (1970)
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Paola Borboni in <b>WHEN WOMEN HAD TAILS</b> (1970)
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Maria Pia Conte in <b>AND THE CROWS WILL DIG YOUR GRAVE</b> (1971)
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Silvia Monti in <b>BLACKIE THE PIRATE</b> (1971)
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Gabriella D'Olive in <b>THE BLOODSTAINED BUTTERFLY</b> (1971)
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Lola Herrera, Vicky Lagos and 'Woman in TV commercial' in <b>THE CANNIBAL MAN</b> (1971)
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Edwige Fenech in <b>DESERT OF FIRE</b> (1971)
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Teresa Gimpera in <b>THE FEAST OF SATAN</b> (1971)
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Ira Fürstenberg in <b>THE FIFTH CORD</b> (1971)
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Valeria Fabrizi in <b>FOUR PISTOLS FOR TRINITY</b> (1971)
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Nuccia Cardinali in <b>IN THE NAME OF THE FATHER, THE SON AND THE COLT</b> (1971)
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Diana Lorys in <b>KILL DJANGO... KILL FIRST</b> (1971)
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Maily Doria in <b>THE LAST TRAITOR</b> (1971)
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Franca Polesello in <b>SHOOT JOE, AND SHOOT AGAIN</b> (1971)
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Rosalba Neri in <b>SLAUGHTER HOTEL</b> (1971)
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Cristina Airoldi in <b>THE STRANGE VICE OF MRS. WARDH</b> (1971)
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Maria Pia Conte in <b>THREE GIANTS OF THE ROMAN EMPIRE</b> (1971)
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Bahar Erdeniz in <b>THE BOY WHO KNEW TOO MUCH!</b> (1972)
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Carla Brait in <b>THE CASE OF THE BLOODY IRIS</b> (1972)
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Susan Scott in <b>CREEPING DEATH</b> (1972)
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Anita Ekberg in <b>DEADLY TRACKERS</b> (1972)
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Matilde Antonelli in <b>DEATH IS SWEET FROM THE SOLDIER OF GOD</b> (1972)
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Florinda Bolkan in <b>DON'T TORTURE A DUCKLING</b> (1972)
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Femi Benussi in <b>THE LAST DECAMERON – ADULTERY IN 7 EASY LESSONS</b> (1972)
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Eva Czemerys in <b>LOVES OF A NYMPHO</b> (1972)
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Francesca Romana Coluzzi in <b>MANHUNT</b> (1972)
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Teresa Gimpera in <b>NAKED GIRL KILLED IN PARK...</b> (1972)
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Teresa Gimpera in <b>THE NIGHT OF THE DEVILS</b> (1972)
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Alida Rosano in <b>THE OTHER CANTERBURY TALES</b> (1972)
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Sybil Danning in <b>THE LADY IN RED KILLS SEVEN TIMES</b> (1972)
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Rossella Falk in <b>SEVEN BLOOD-STAINED ORCHIDS</b> (1972)
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Marilù Tolo in <b>SHADOWS UNSEEN</b> (1972)
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Liana Trouchè in <b>THE SICILIAN CHECKMATE</b> (1972)
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Rosalba Neri in <b>SMILE BEFORE DEATH</b> (1972)
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Jessica Dublin in <b>SO SWEET, SO DEAD</b> (1972)
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Irene D’Astrea in <b>TOO MUCH GOLD FOR ONE GRINGO</b> (1972)
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'Woman at rented house' in <b>WHAT HAVE YOU DONE TO SOLANGE?</b> (1972)
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Marie Luise Zetha in <b>YOU CAN DO A LOT WITH 7 WOMEN</b> (1972)
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Krista Nell in <b>YOU’RE JINXED, FRIEND, YOU’VE MET SACRAMENTO</b> (1972)
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Dina Adorni in <b>AMARCORD</b> (1973)
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Rosalba Neri in <b>THE ARENA</b> (1973)
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Genie Woods in <b>BATTLE OF THE AMAZONS</b> (1973)
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Maria Fiore in <b>THE BIG FAMILY</b> (1973)
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Denise O'Hara in <b>THE BLOODY HANDS OF THE LAW</b> (1973)
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Rosalba Neri in <b>CHARITY AND THE STRANGE SMELL OF MONEY</b> (1973)
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Angela Bo in <b>DEATH SMILES AT MURDER</b> (1973)
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Melù Valente in <b>HOSPITALS, THE WHITE MAFIA</b> (1973)
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Didi Perego in <b>THE INCONSOLABLE WIDOW THANKS ALL THOSE WHO CONSOLED HER</b> (1973)
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Francesca Romana Coluzzi in <b>KARATE, FISTS AND BEANS</b> (1973)
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Lidia Alfonsi in <b>LADY DYNAMITE</b> (1973)
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Teresa Velázquez in <b>ONE WAY</b> (1973)
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Esperanza Roy in <b>RETURN OF THE EVIL DEAD</b> (1973)
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Doris Kunstmann in <b>SEVEN DEATHS IN THE CAT’S EYES</b> (1973)
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Dada Gallotti in <b>THE SON OF ZORRO</b> (1973)
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Greta Vayan in <b>TALES OF CANTERBURY</b> (1973)
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Agata Lys in <b>TEQUILA</b> (1973)
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Rosaria Della Femmina in <b>TORSO</b> (1973)
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Fausta Pittoni in <b>WHEN LOVE IS LUST</b> (1973)
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Valeria Fabrizi and Bedy Moratti in <b>THE WOMEN IN CELL BLOCK 7</b> (1973)
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Genie Woods in <b>AMAZONS AND SUPERMEN</b> (1974)
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Claudia Cardinale in <b>BLOOD BROTHERS</b> (1974)
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Femi Benussi in <b>CARNAL REVENGE</b> (1974)
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'Heroin smuggler' in <b>CRY OF A PROSTITUTE</b> (1974)
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Helga Liné in <b>DEATH WILL HAVE YOUR EYES</b> (1974)
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'Occult woman' in <b>THE DEVIL WITHIN HER</b> (1974)
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Lucretia Love in <b>THE EERIE MIDNIGHT HORROR SHOW</b> (1974)
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Isabella Biagini in <b>EROTOMANIA</b> (1974)
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Jill Pratt in <b>FLAVIA, THE HERETIC</b> (1974)
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Erika Blanc in <b>THE HANDSOME DEVIL</b> (1974)
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Silvia Monti in <b>THE LAST DESPERATE HOURS</b> (1974)
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Vera De Oliveira in <b>NOA NOA</b> (1974)
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Carla Mancini in <b>THE PERFUME OF THE LADY IN BLACK</b> (1974)
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<br />
Didi Perego in <b>POKER IN BED</b> (1974)
<br />
<br />
Monica Monet in <b>SHOOT FIRST... DIE LATER</b> (1974)
<br />
<br />
Liana Trouchè in <b>SILENCE THE WITNESS</b> (1974)
<br />
<br />
Monica Monet in <b>SPASMO</b> (1974)
<br />
<br />
Patty Shepard in <b>THE STRANGER AND THE GUNFIGHTER</b> (1974)
<br />
<br />
Karin Schubert in <b>THIS TIME I'LL MAKE YOU RICH</b> (1974)
<br />
<br />
Laura De Marchi in <b>THE TREE WITH PINK LEAVES</b> (1974)
<br />
<br />
Sabine Sun in <b>WAR GODDESS</b> (1974)
<br />
<br />
Clara Zovianoff in <b>WHAT HAVE THEY DONE TO YOUR DAUGHTERS?</b> (1974)
<br />
<br />
Gisela Hahn in <b>WHITE FANG TO THE RESCUE</b> (1974)
<br />
<br />
Isabelle Marchall in <b>BLACK EMANUELLE</b> (1975)
<br />
<br />
Monica Vitti in <b>BLONDE IN BLACK LEATHER</b> (1975)
<br />
<br />
Teresa Velázquez in <b>THE DARK IS DEATH'S FRIEND</b> (1975)
<br />
<br />
Daria Nicolodi in <b>DEEP RED</b> (1975)
<br />
<br />
Rosemarie Lindt in <b>EMANUELLE'S REVENGE</b> (1975)
<br />
<br />
Pilar Velazquez in <b>EVIL EYE</b> (1975)
<br />
<br />
Silvia Solar in <b>EYEBALL</b> (1975)
<br />
<br />
'Rosa' in <b>FOOTPRINTS</b> (1975)
<br />
<br />
Diana Lorys in <b>GET MEAN</b> (1975)
<br />
<br />
Serena Bennato in <b>THE KIDNAP SYNDICATE</b> (1975)
<br />
<br />
'Signora Di Federico' in <b>KILLER COP</b> (1975)
<br />
<br />
Antonella Murgia in <b>THE LEFT HAND OF THE LAW</b> (1975)
<br />
<br />
Dada Gallotti in <b>REFLECTIONS IN BLACK</b> (1975)
<br />
<br />
Magali Noel in <b>SEASON FOR ASSASSINS</b> (1975)
<br />
<br />
Loredana Nusciak in <b>SILENT ACTION</b> (1975)
<br />
<br />
Juliette Mayniel in <b>SINS WITHIN THE FAMILY</b> (1975)
<br />
<br />
Giuliana Cecchini in <b>STRIP NUDE FOR YOUR KILLER</b> (1975)
<br />
<br />
Femi Benussi in <b>SYNDICATE SADISTS</b> (1975)
<br />
<br />
Paola Faloja in <b>THE TEENAGE PROSTITUTION RACKET</b> (1975)
<br />
<br />
Francesca Romana Coluzzi in <b>YOUNG DRACULA</b> (1975)
<br />
<br />
Lea Lander in <b>ACHTUNG! THE DESERT TIGERS</b> (1976)
<br />
<br />
Ely Galleani in <b>APACHE WOMAN</b> (1976)
<br />
<br />
Rossella Como in <b>THE AU PAIR GIRL</b> (1976)
<br />
<br />
Anna Zinnemann in <b>THE BIG RACKET</b> (1976)
<br />
<br />
Dagmar Lassander in <b>BLACK EMANUELLE 2</b> (1976)
<br />
<br />
Malisa Longo in <b>BLACK EMANUELLE, WHITE EMANUELLE</b> (1976)
<br />
<br />
Dada Gallotti in <b>BLOODY PAYROLL</b> (1976)
<br />
<br />
Rosanna Fratello in <b>CROSS SHOT</b> (1976)
<br />
<br />
Maria Renata Franco and Maria Piera Regoli in <b>EMANUELLE IN AMERICA</b> (1976)
<br />
<br />
'Transvestite' in <b>FEAR IN THE CITY</b> (1976)
<br />
<br />
Maristella Greco in <b>THE GESTAPO'S LAST ORGY</b> (1976)
<br />
<br />
Tina Aumont and Anna Proclemer in <b>ILLUSTRIOUS CORPSES</b> (1976)
<br />
<br />
Maria De Sisti in <b>THE LADY MEDIC</b> (1976)
<br />
<br />
Susana Gimenez in <b>THE LAST ROUND</b> (1976)
<br />
<br />
Ria De Simone in <b>LOVE IN FOUR EASY LESSONS</b> (1976)
<br />
<br />
Carroll Baker in <b>MY FATHER'S WIFE</b> (1976)
<br />
<br />
Cecilia Polizzi in <b>PLOT OF FEAR</b> (1976)
<br />
<br />
Anna Taddei in <b>RISKING</b> (1976)
<br />
<br />
Gisela Hahn in <b>RULERS OF THE CITY</b> (1976)
<br />
<br />
Patrizia Melega in <b>SS CAMP 5 - WOMEN'S HELL</b> (1976)
<br />
<br />
Patrizia Melega in <b>SS EXPERIMENT LOVE CAMP</b> (1976)
<br />
<br />
Beatrice Pellegrino in <b>THE TOUGH ONES</b> (1976)
<br />
<br />
Maria Grazia Spina in <b>VIOLENT NAPLES</b> (1976)
<br />
<br />
Yanti Somer in <b>WHO MISLAID MY WIFE?</b> (1976)
<br />
<br />
Marisa Mell in <b>THE BEAST WITH A GUN</b> (1977)
<br />
<br />
Olga Karlatos in <b>BLOOD AND DIAMONDS</b> (1977)
<br />
<br />
Paola Dominguin in <b>CALIFORNIA</b> (1977)
<br />
<br />
Bianca Toccafondi in <b>THE CAT'S VICTIMS</b> (1977)
<br />
<br />
Marcella Michelangeli in <b>COULD IT HAPPEN HERE?</b> (1977)
<br />
<br />
Gabriella Giorgelli in <b>THE CYNIC, THE RAT AND THE FIST</b> (1977)
<br />
<br />
Linda Sini in <b>DAY OF VIOLENCE</b> (1977)
<br />
<br />
Paola Quattrini in <b>DEATH HUNT</b> (1977)
<br />
<br />
Malisa Longo in <b>EL MACHO</b> (1977)
<br />
<br />
'Motorcyclist' in <b>THE HEROIN BUSTERS</b> (1977)
<br />
<br />
Mariangela Melato in <b>IN THE BEACH HOUSE</b> (1977)
<br />
<br />
Martine Brochard in <b>THE LAST DADDY</b> (1977)
<br />
<br />
Lori Wagner in <b>MESSALINA, MESSALINA</b> (1977)
<br />
<br />
Vanessa Vitale in <b>THE PYJAMA GIRL CASE</b> (1977)
<br />
<br />
Laura De Marchi in <b>READY FOR ANYTHING</b> (1977)
<br />
<br />
Dagmar Lassander in <b>RETURN OF THE 38 GANG</b> (1977)
<br />
<br />
Nathalie Delon in <b>SEAGULLS FLY LOW</b> (1977)
<br />
<br />
Patrizia Sacchi in <b>SISTER EMANUELLE</b> (1977)
<br />
<br />
Ivana Novak in <b>STUNT SQUAD</b> (1977)
<br />
<br />
Barbara Magnolfi in <b>SUSPIRIA</b> (1977)
<br />
<br />
Ria De Simone in <b>THE VIRGO, THE TAURUS AND THE CAPRICORN</b> (1977)
<br />
<br />
Lorraine De Selle in <b>WOMEN'S CAMP 119</b> (1977)
<br />
<br />
Seyna Seyn in <b>YELLOW EMANUELLE</b> (1977)
<br />
<br />
Anna Maria Rizzoli in <b>BLAZING FLOWERS</b> (1978)
<br />
<br />
Juliette Mayniel in <b>THE BLOODSTAINED SHADOW</b> (1978)
<br />
<br />
Isa Danieli in <b>BROTHERS TILL WE DIE</b> (1978)
<br />
<br />
Montserrat Julio in <b>THE COMING OF SIN</b> (1978)
<br />
<br />
Ajita Wilson and 'Kathleen the porn actress' in <b>EMANUELLE AND THE PORNO NIGHTS</b> (1978)
<br />
<br />
Marina D'Aunia and Angela Doria in <b>ESCAPE FROM WOMEN'S PRISON</b> (1978)
<br />
<br />
Viviana Polic in <b>THE GUN</b> (1978)
<br />
<br />
Maria Monti in <b>LITTLE LIPS</b> (1978)
<br />
<br />
Sirpa Lane in <b>PAPAYA OF THE CARIBBEAN</b> (1978)
<br />
<br />
Olga Bisera in <b>SAFARI RALLY</b> (1978)
<br />
<br />
Sandra Alberti in <b>SATAN'S BLOOD</b> (1978)
<br />
<br />
Edwige Fenech in <b>THE SCHOOLTEACHER IN THE HOUSE</b> (1978)
<br />
<br />
Antonella Murgia in <b>THE SQUEEZE</b> (1978)
<br />
<br />
Yanti Somer in <b>STAR ODYSSEY</b> (1978)
<br />
<br />
Lecinia Lentini in <b>TO BE TWENTY</b> (1978)
<br />
<br />
Malisa Longo in <b>THE WAR OF THE ROBOTS</b> (1978)
<br />
<br />
Mila Stanic in <b>AND GIVE US OUR DAILY SEX</b> (1979)
<br />
<br />
Zlata Petkovic in <b>BATTLE OF THE EAGLES</b> (1979)
<br />
<br />
Franca Stoppi in <b>BEYOND THE DARKNESS</b> (1979)
<br />
<br />
Florence Cayrol in <b>BLACK GOLD DOSSIER</b> (1979)
<br />
<br />
Renata Zamengo in <b>THE CONCORDE AFFAIR</b> (1979)
<br />
<br />
Sherry Buchanan in <b>EMANUELLE AND JOANNA</b> (1979)
<br />
<br />
Anda Vartholomeou in <b>EMANUELLE, QUEEN OF SADOS</b> (1979)
<br />
<br />
Cintia Lodetti in <b>ESCAPE FROM HELL</b> (1979)
<br />
<br />
Gloria Piedimonte in <b>THE FACE WITH 2 LEFT FEET</b> (1979)
<br />
<br />
Maria Baxa in <b>GARDENIA</b> (1979)
<br />
<br />
Ajita Wilson in <b>HOTEL PARADISE</b> (1979)
<br />
<br />
Anita Ekberg in <b>THE KILLER NUN</b> (1979)
<br />
<br />
Nadia Cassini in <b>THE NURSE IN THE MILITARY MADHOUSE</b> (1979)
<br />
<br />
Anna Maria Clementi in <b>THE PORNO SHOP ON 7th AVENUE</b> (1979)
<br />
<br />
Lilli Carati in <b>SKIN DEEP</b> (1979)
<br />
<br />
Paola Senatore in <b>TARGET</b> (1979)
<br />
<br />
Gianfranca Dionisi in <b>TERROR EXPRESS!</b> (1979)
<br />
<br />
Monica Vitti in <b>TIGERS IN LIPSTICK</b> (1979)
<br />
<br />
Tisa Farrow in <b>ANTROPOPHAGUS</b> (1980)
<br />
<br />
Licinia Lentini in <b>THE DAY OF THE COBRA</b> (1980)
<br />
<br />
Margaret Rose Keil in <b>ESCAPE FROM GALAXY 3</b> (1980)
<br />
<br />
'Mrs. Jacquard' in <b>HARD SENSATION</b> (1980)
<br />
<br />
'Josie' in <b>HELL OF THE LIVING DEAD</b> (1980)
<br />
<br />
Alida Valli in <b>INFERNO</b> (1980)
<br />
<br />
Bernice Stegers in <b>MACABRE</b> (1980)
<br />
<br />
Anita Strindberg in <b>MURDER OBSESSION</b> (1980)
<br />
<br />
Susan Forget in <b>THE OTHER HELL</b> (1980)
<br />
<br />
Laura Gemser in <b>SEXY EROTIC LOVE</b> (1980)
<br />
<br />
Dirce Funari in <b>SEXY NIGHTS OF THE LIVING DEAD</b> (1980)
<br />
<br />
'Luisa' in <b>THE WARNING</b> (1980)
<br />
<br />
Hanja Kochansky in <b>ABSURD</b> (1981)
<br />
<br />
Alessandra Vazzoler in <b>BUDDY GOES WEST</b> (1981)
<br />
<br />
Valeria Fabrizi in <b>CHASTE AND PURE</b> (1981)
<br />
<br />
Donatella Damiani in <b>HONEY</b> (1981)
<br />
<br />
Dagmar Lassander in <b>THE HOUSE BY THE CEMETERY</b> (1981)
<br />
<br />
Mirta Miller in <b>THE LAST HAREM</b> (1981)
<br />
<br />
Grazia De Giorgi in <b>NATHALIE</b> (1981)
<br />
<br />
Mariangela Giordano in <b>THE NIGHTS OF TERROR</b> (1981)
<br />
<br />
Marisa Merlini and Francesca Romana Coluzzi in <b>PIERINO AGAINST THE WORLD</b> (1981)
<br />
<br />
Carole Davis in <b>PIRANHA PART TWO: THE SPAWNING</b> (1981)
<br />
<br />
Laura Gemser in <b>ATOR THE FIGHTING EAGLE</b> (1982)
<br />
<br />
Ajita Wilson in <b>CATHERINE CHERIE</b> (1982)
<br />
<br />
Franca Mantelli in <b>CRAZY NAVY</b> (1982)
<br />
<br />
Ursula Andress in <b>MEXICO IN FLAMES</b> (1982)
<br />
<br />
Fanny Magier in <b>NERO AND POPPEA – AN ORGY OF POWER</b> (1982)
<br />
<br />
Rita Silva in <b>THE NEW YORK RIPPER</b> (1982)
<br />
<br />
Corliss Randall in <b>NINJA STRIKES BACK</b> (1982)
<br />
<br />
Hilda Fuchs in <b>PIECES</b> (1982)
<br />
<br />
Wandisa Guida in <b>THE SCORPION WITH TWO TAILS</b> (1982)
<br />
<br />
Grazia De Giorgi in <b>SWEET BODY OF BIANCA</b> (1982)
<br />
<br />
Yvonne Fraschetti in <b>THE SWORD OF THE BARBARIANS</b> (1982)
<br />
<br />
Françoise Perrot in <b>VIOLENCE IN A WOMEN'S PRISON</b> (1982)
<br />
<br />
Simonetta Stefanelli in <b>THE ART OF LOVE</b> (1983)
<br />
<br />
Ursula Flores in <b>BLADE VIOLENT</b> (1983)
<br />
<br />
Marina Costa in <b>THE FINAL EXECUTIONER</b> (1983)
<br />
<br />
Rita Silva in <b>HELL BEHIND BARS</b> (1983)
<br />
<br />
Rita Silva in <b>HELL PENITENTIARY</b> (1983)
<br />
<br />
Paola Senatore in <b>MALOMBRA</b> (1983)
<br />
<br />
Bridgit Pelz in <b>RUSH</b> (1983)
<br />
<br />
Mandy Rice-Davies in <b>THE SEVEN MAGNIFICENT GLADIATORS</b> (1983)
<br />
<br />
Sabrina Siani in <b>THE THRONE OF FIRE</b> (1983)
<br />
<br />
Danika La Loggia in <b>THE VIOLENT BREED</b> (1983)
<br />
<br />
Concha Marquez Piquer in <b>YELLOW HAIR AND THE FORTRESS OF GOLD</b> (1983)
<br />
<br />
'Filiberto's widow' in <b>THE ALCOVE</b> (1984)
<br />
<br />
Sandra Milo in <b>CINDY - CINDERELLA '80</b> (1984)
<br />
<br />
Anita Kupsch in <b>COP IN DRAG</b> (1984)
<br />
<br />
Karin Schubert in <b>HANNA D. - THE GIRL FROM VONDEL PARK</b> (1984)
<br />
<br />
Victoria Vera in <b>MONSTER DOG</b> (1984)
<br />
<br />
'Molly' in <b>MONSTER SHARK</b> (1984)
<br />
<br />
Daria Nicolodi in <b>PHENOMENA</b> (1984)
<br />
<br />
Laura Gemser in <b>LOOKING GOOD</b> (ca 1985)
<br />
<br />
Dalila Di Lazzaro in <b>DEATH COMMANDO</b> (1985)
<br />
<br />
Oya Demir in <b>THE DIAMOND CONNECTION</b> (1985)
<br />
<br />
Rita Silva in <b>THE EROTIC DREAMS OF CLEOPATRA</b> (1985)
<br />
<br />
Marina Costa in <b>JUNGLE RAIDERS</b> (1985)
<br />
<br />
Marta Anderson in <b>MASSACRE IN DINOSAUR VALLEY</b> (1985)
<br />
<br />
Laura Trotter in <b>MIAMI GOLEM</b> (1985)
<br />
<br />
Dagmar Lassander in <b>THE PLEASURE</b> (1985)
<br />
<br />
Zeni Pereira in <b>WOMEN IN FURY</b> (1985)
<br />
<br />
Francesca Ferré in <b>BRIDGE TO HELL</b> (1986)
<br />
<br />
Rita Savagnone in <b>CORRUPTION</b> (1986)
<br />
<br />
Corinne Clery in <b>THE DEVIL'S HONEY</b> (1986)
<br />
<br />
'Indian woman' in <b>HANDS OF STEEL</b> (1986)
<br />
<br />
Milly D'Abbraccio in <b>THE KISS OF THE COBRA</b> (1986)
<br />
<br />
Francesca Ferré in <b>THE MINES OF KILIMANJARO</b> (1986)
<br />
<br />
Beni Cardoso in <b>WHITE APACHE</b> (1986)
<br />
<br />
Ljiljana Blagojevic in <b>AENIGMA</b> (1987)
<br />
<br />
Eva Grimaldi in <b>BLACK COBRA</b> (1987)
<br />
<br />
'Steel's Wife' in <b>BROTHERS IN BLOOD</b> (1987)
<br />
<br />
Zaira Zoccheddu, 'Carmela' and 'Marco’s mother' in <b>THE CROSS OF SEVEN JEWELS</b> (1987)
<br />
<br />
Iris Peynado in <b>IRON WARRIOR</b> (1987)
<br />
<br />
Marjorie Manushaw in <b>NIGHT OF THE SHARKS</b> (1987)
<br />
<br />
Beni Cardoso in <b>SCALPS</b> (1987)
<br />
<br />
Malisa Longo in <b>URBAN WARRIORS</b> (1987)
<br />
<br />
Mylène Demongeot in <b>BIG MAN - AN UNUSUAL INSURANCE</b> (1988)
<br />
<br />
Mylène Demongeot in <b>BIG MAN - THE FALSE ETRUSCAN</b> (1988)
<br />
<br />
Mylène Demongeot in <b>BIG MAN - THE DIVA</b> (1988)
<br />
<br />
Mylène Demongeot in <b>BIG MAN - BOOMERANG</b> (1988)
<br />
<br />
Mylène Demongeot in <b>BIG MAN - $ 395 AN OUNCE</b> (1988)
<br />
<br />
Zora Kerova in <b>THE GHOSTS OF SODOM</b> (1988)
<br />
<br />
Victoria Lustig in <b>JAILBIRD ROCK</b> (1988)
<br />
<br />
Milene Thy-Sanh in <b>LAST PLATOON</b> (1988)
<br />
<br />
Adriana Russo in <b>THE MURDER SECRET</b> (1988)
<br />
<br />
Clara Colosimo in <b>NOSFERATU IN VENICE</b> (1988)
<br />
<br />
Janet Agren in <b>RATMAN</b> (1988)
<br />
<br />
Lara Wendel in <b>THE RED MONKS</b> (1988)
<br />
<br />
Patrizia De Clara in <b>STRADIVARI</b> (1988)
<br />
<br />
Zora Kerova in <b>TOUCH OF DEATH</b> (1988)
<br />
<br />
Kathy Shower in <b>VELVET DREAMS</b> (1988)
<br />
<br />
Marina Giulia Cavalli in <b>ALIEN FROM THE DEEP</b> (1989)
<br />
<br />
Tinì Cansino in <b>BLACK ANGEL</b> (1989)
<br />
<br />
Florence Guerin in <b>THE BLACK CAT</b> (1989)
<br />
<br />
Margie Newton in <b>THE BRONX EXECUTIONER</b> (1989)
<br />
<br />
Sherrie Rose in <b>BROTHERS IN WAR</b> (1989)
<br />
<br />
'Nurse' in <b>CY WARRIOR</b> (1989)
<br />
<br />
Marina Giulia Cavalli in <b>FASHION CRIMES</b> (1989)
<br />
<br />
Licia Colò in <b>THE HOUSE OF LOST SOULS</b> (1989)
<br />
<br />
Marina Giulia Cavalli in <b>THE HOUSE OF WITCHCRAFT</b> (1989)
<br />
<br />
Martine Brochard in <b>THE MAN WHO DIDN'T WANT TO DIE</b> (1989)
<br />
<br />
Marina Viro in <b>THE PRINCE OF TERROR</b> (1989)
<br />
<br />
Cinzia Monreale in <b>THE SWEET HOUSE OF HORRORS</b> (1989)
<br />
<br />
Margareta Von Krauss in <b>VALENTINA</b> (TV series) - episode "Rembrandt and the Witches" (1989)
<br />
<br />
Christina Engelhardt in <b>DEMONIA</b> (1990)
<br />
<br />
'Bitchy journalist' and 'Hotel receptionist' in <b>KILLER CROCODILE 2</b> (1990)
<br />
<br />
Michele Dehne in <b>LAST FLIGHT TO HELL</b> (1990)
<br />
<br />
Florinda Bolkan in <b>MILLIONS</b> (1990)
<br />
<br />
Frances Nacman in <b>VOICES FROM BEYOND</b> (1991)
<br />
<br />
'Mrs. Tommasini' in <b>ALL LADIES DO IT</b> (1992)
<br />
<br />
Carla Cassola in <b>CIRCLE OF FEAR</b> (1992)
<br />
<br />
Serena Grandi in <b>CRAVING DESIRE</b> (1993)
<br />
<br />
Florinda Bolkan in <b>CRIME OF PASSION</b> (1994)
<br />
<br />
Birte Berg in <b>THE WEB OF SILENCE – A.I.D.S.</b> (1994)
<br />
<br />
Florinda Bolkan in <b>OLGA O's STRANGE STORY</b> (1995)
<br />
<br />
Carroll Baker in <b>WITNESS RUN</b> (1996)
<br />
<br />
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© 2014 Johan MelleJohan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-32360475941292842222014-08-01T09:13:00.000-07:002020-04-21T10:30:09.297-07:00The Killer Reserved Nine Seats/L'assassino ha riservato nove poltrone<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1974
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Directed by Giuseppe Bennati
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Cast:
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Chris Avram, Rosanna Schiaffino, Paola Senatore, Gaetano Russo, Eva Czemerys, Lucretia Love, Andrea Scotti, Howard Ross, Janet Agren, Eduardo Filipone</b>
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It’s finally time for new review, and this time I’ll be looking closer at the fairly obscure giallo <i>The Killer Reserved Nine Seats</i>. This film has just made its worldwide debut on both DVD and Blu-ray, courtesy of German company Camera Obscura, so this seems like the perfect occasion to revisit this interesting little film.
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The filthy rich Patrick Davenant (Chris Avram) is celebrating his birthday along with his friends and family, and in the middle of the party, someone comes up with the idea that they should go visit a long closed down, old theater owned by Patrick and continue the partying there. The film begins just as Patrick arrives at the remote and abandoned theater with the rest of the group, which consists of his much younger fiancée Kim (Janet Agren), an aspiring actress who only wants him for his money; handsome but misogynistic painter Russell (Howard Ross), who also happens to be Kim’s secret lover; Patrick’s fiery-haired and acid-tongued daughter Lynn (Paola Senatore), who is disturbingly prone to kissing her father on the mouth; Lynn’s shifty-eyed and unlikable boyfriend Duncan (Gaetano Russo); Patrick’s frosty lesbian sister Rebecca (Eva Czemerys) and her ditzy, blonde lover Doris (Lucretia Love); Patrick’s elegant ex-wife Vivian (Rosanna Schiaffino), who is obviously still in love with him; and Vivian’s new husband Albert (Andrea Scotti), a stiff-lipped physician who is terribly jealous of Patrick. The atmosphere is generally unpleasant as none of the celebrants like each other very much, and keep throwing nasty comments at each other.
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<i>The guests arrive</i>
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<i>Birthday boy Patrick</i>
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<i>The adulterous fiancée and her lover</i>
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<i>The obligatory lesbians</i>
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<i>Patick's daughter and her sleazy beau</i>
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<i>The elegant ex-wife in her amazing spider web dress</i>
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Also among their number is a mysterious young man in a Nehru shirt (Eduardo Filipone) who nobody seems to be quite sure who is – each of them assuming he’s a friend of one of the others. The strange, young man even claims to have spent the night in this very theater exactly one hundred years ago – a peculiar comment that none of the others seem to give a second thought as they are much too occupied with bickering over various petty feuds and jealousies.
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<i>The mystery man in the Nehru jacket</i>
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Things take a definite turn for the worse when someone with black leather gloves cuts the rope holding a heavy wooden beam, which then comes crashing down and is just inches away from crushing Patrick to death. Patrick quickly starts pointing the finger at his friends and family members, who are all financially dependent on him in one way or the other, and would benefit greatly from his demise.
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<i>A classic, black-gloved figure attempts to dispose of Patrick</i>
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The accusations are interrupted, however, when the vain Kim puts on an old theater costume and gathers the group to watch as she mounts the stage to recite the tragic finale from <i>Romeo and Juliet</i>. At the end of her performance, Kim stabs herself with a prop dagger and slumps dead to her knees as the others applaud her performance. But when Kim fails to get back up to accept her round of applause, the others are shocked to discover that she actually dead for real – someone behind the curtain having planted a dagger in her back while they were all watching!
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<i>The sequence where Kim is murdered on stage in front of her oblivious friends who assume everything is a part of her act appears to have had a strong influce on Michele Soavi's</i> Stagefright <i>(1987), which features a rather similar, though admittedly more effective, scene</i>
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As expected, Kim’s death puts a serious damper on the party, and everyone is eager to get the hell out. That, however, turns out to be easier said than done, as the phone has been disconnected and all of the doors sealed shut by some inexplicable force. With everyone trapped inside the theater, it doesn’t take long before they are picked off one by one by a mysterious killer wearing a cape, black leather gloves and a disturbingly creepy theater mask.
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<i>The doors won't open and there's no way out...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlDIxij7UTRQREtDvnecjk6q0Uw-uaNtekwr0MNc3zm17MvAUIfPzQkOmCvL59xkhFo7hbIy28I7cRcPcjDp3_oUQaKKyno4smg282EjZoJCfJMlbke-fuNdNYlD2S2h6-Z5poNTDAGU/s1600/Killer's+Mask.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlDIxij7UTRQREtDvnecjk6q0Uw-uaNtekwr0MNc3zm17MvAUIfPzQkOmCvL59xkhFo7hbIy28I7cRcPcjDp3_oUQaKKyno4smg282EjZoJCfJMlbke-fuNdNYlD2S2h6-Z5poNTDAGU/s400/Killer's+Mask.jpg"></a></div>
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<i>...which means the cast will soon fall prey to this guy with the seriously creepy mask</i>
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In the library, Patrick discovers an old parchment illustrated with macabre depictions of murder. Strangely, these images appear to foretell the order and method of which they will all be murdered. A growingly paranoid Patrick fears that an old family curse is responsible for the gruesome events, and apparently it all has something to do with what happened in this theater 100 years ago. Will any one of the guests make it out alive...?
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcaZytGZpehXzhA5Zg1vccnAcQtzZsjBE8aqdfDH1Wk5ULEPXtZYHVGZGGXnQK8IOV9cbjKbdjZIVCOmSxWlwW7JRCZV3kF5TBzd6ohj2fhy_fCSs4XdHuF_-YLJlGDc8PjKjTgLXdxY/s1600/Terror1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcaZytGZpehXzhA5Zg1vccnAcQtzZsjBE8aqdfDH1Wk5ULEPXtZYHVGZGGXnQK8IOV9cbjKbdjZIVCOmSxWlwW7JRCZV3kF5TBzd6ohj2fhy_fCSs4XdHuF_-YLJlGDc8PjKjTgLXdxY/s400/Terror1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3hwgFy0EsrtJ5PPC_833v_NTbA3f7akTyqdOE49svhpfE_H5prkmLgy75IsCXXm9_5o3SEHw0fglA7BeZLyMxexFIMkfKqlbAb-8HaYayUa7YvGf-llEqrm1X-bMBL6mEFqkdseoMAds/s1600/Terror2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3hwgFy0EsrtJ5PPC_833v_NTbA3f7akTyqdOE49svhpfE_H5prkmLgy75IsCXXm9_5o3SEHw0fglA7BeZLyMxexFIMkfKqlbAb-8HaYayUa7YvGf-llEqrm1X-bMBL6mEFqkdseoMAds/s400/Terror2.jpg"></a></div>
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<i>The trapped guests are killed one by one...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglI1nPrfLWIJeeLPAyPdGFaxGMKGQHYCoaQvsrtmQ2EmgR51Uf4qs3ssp0oPNkMOI7iQ75v_kHw61b9c6jgGkE1yk0gSRK-t3aV7QCkkfwL9kPSAesVz6ndOXZtKoUOcpM4bat7S2wfIA/s1600/Parchment1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglI1nPrfLWIJeeLPAyPdGFaxGMKGQHYCoaQvsrtmQ2EmgR51Uf4qs3ssp0oPNkMOI7iQ75v_kHw61b9c6jgGkE1yk0gSRK-t3aV7QCkkfwL9kPSAesVz6ndOXZtKoUOcpM4bat7S2wfIA/s400/Parchment1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvv71Vps0v9WymodYtwzACAoNHceQ3JRrlx-sciYDC7AA2AxItpH3I3bi97UITKIhyphenhyphenGW6eMk0tarapefC0AHcCpPv14xMYNgON6M2aczwVCdRSFMpZjWCxsUmQp0vsX3f1tVWbsShNE0I/s1600/Parchment2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvv71Vps0v9WymodYtwzACAoNHceQ3JRrlx-sciYDC7AA2AxItpH3I3bi97UITKIhyphenhyphenGW6eMk0tarapefC0AHcCpPv14xMYNgON6M2aczwVCdRSFMpZjWCxsUmQp0vsX3f1tVWbsShNE0I/s400/Parchment2.jpg"></a></div>
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<i>...apparently in accordance with the illustrations from this strange, old parchment</i>
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The plot about a group of people being trapped in an isolated location and murdered one by one in accordance with images from a strange parchment is obviously inspired by Agatha Christie’s classic novel <i>Ten Little Indians</i>, which has served as the template for several gialli, including Mario Bava’s <i>Five Dolls for an August Moon</i> (1970) and Ferdinando Baldi’s <i>Nine Guests for a Crime</i> (1977). And indeed, <i>The Killer Reserved Nine Seats</i> also starts out as a typical Christie-style drawing room mystery, but fortunately, writers Biagio Proietti, Paolo Levi and co-writer/director Giuseppe Bennati give their own spin on the story by adding several distinct horror touches and a bizarre and unexpected supernatural plotline. Earlier gialli such as <i>The Night Evelyn Came Out of the Grave</i> (1971) and <i>The Etruscan Kills Again</i> (1972) also toyed with supernatural plot elements but in the end, a human culprit was revealed to have staged the whole thing. As such, <i>The Killer Reserved Nine Seats</i> stands as one of the very few gialli to actually uphold its supernatural elements throughout the film – thereby putting a strong individual stamp on the proceedings.
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The writers also make sure to liven up the film with regular doses of sleaze and unwarranted (but welcome) nudity, as well as a couple of creatively nasty killings in which the female victims are stripped naked and disposed of in sadistic fashion – the definite highlight being a scene in which a particularly unfortunate victim is stabbed repeatedly in the crotch before getting her hand crucified to a wooden post. While this scene implies far more than it actually shows, it is still an extremely vicious and wince-inducing moment that culminates in the film’s most famous and memorable imagery.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqcd9C_FZVPDlXmnlcMw6XaXDfLYcVSjIuiwdhCvCIDe1rLT5LvqSgPrX433RQSiW7K-Po8HT3HM639vwpFNX1GUJfM-MmHxLHx6UBYQ0JXLi2FRCy9yq7c3J2uz4LTXGHIbuOQbFTIzY/s1600/Corpses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqcd9C_FZVPDlXmnlcMw6XaXDfLYcVSjIuiwdhCvCIDe1rLT5LvqSgPrX433RQSiW7K-Po8HT3HM639vwpFNX1GUJfM-MmHxLHx6UBYQ0JXLi2FRCy9yq7c3J2uz4LTXGHIbuOQbFTIzY/s400/Corpses.jpg"></a></div>
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<i>By far the most famous shot in the film - reproduced for a lot of eye-catching artwork for the film</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhzxuiMJJMOGwBIXU6EpNOx6HDVDDcZwhnOGtEASrHXi4gxrzM7sI-7IDE0YjWj3vl_pWI8buktbkrBtT3JfrWqqVSRV0Xtccebpq9_FS2d5t-m9zi9S-bIFny1PF1D55w_6GIJjNsb8/s1600/Artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhzxuiMJJMOGwBIXU6EpNOx6HDVDDcZwhnOGtEASrHXi4gxrzM7sI-7IDE0YjWj3vl_pWI8buktbkrBtT3JfrWqqVSRV0Xtccebpq9_FS2d5t-m9zi9S-bIFny1PF1D55w_6GIJjNsb8/s400/Artwork.jpg"></a></div>
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<i>But as you can see, said artwork is always censored in the form of some added bras</i>
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Not much is known about the film’s director, Giuseppe Bennati, who made his start doing documentary shorts before graduating to feature films in 1951. He churned out a couple of comedies and melodramas in the 1950s and early 1960s – some of which were pretty well-received in their time – but then dropped off the map completely. <i>The Killer Reserved Nine Seats</i> – Bennati’s first and only foray into thriller/horror territory – was in fact his first film in 12 years, and it was also to be his last as he never made another film before his death in 2006. Given Bennati’s lack of experience with suspense films, it seems reasonable to credit a fair share of the film’s pleasing horror content to top-billed screenwriter Biagio Proietti, who had extensive experience in writing mystery thrillers for television, such as the highly successful <i>Coralba</i> (1970). But that’s not to undermine the contributions of Bennati, who does a very solid job of putting the script’s ideas up on the screen.
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Possibly, the fact that Bennati’s other works were made in the 1950s and 60s might explain why this film discards with the modern urban settings found in most gialli in favor of an isolated castle-like setting, which evokes quite a bit of a gothic atmosphere similar to that of the early black-and-white gialli. Instrumental in bringing this gothic atmosphere to life is the genuine theater location and the carefully arranged production design, which makes for a baroque and striking backdrop to the tragic and violent proceedings, which are captured in loving and stylish detail by cinematographer Giuseppe Aquari (<i>An Angel for Satan</i>, 1966; <i>Something Creeping in the Dark</i>, 1971).
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One of the best-looking moments is the sequence in which the doomed characters stare in terror as a ghostly voice recites a passage from <i>Hamlet</i> from an empty stage while a mysterious wind rattles the colorful curtains. It’s a great scene that is beautifully photographed and draped in atmosphere. Equally great is a supremely creepy scene in which the beautiful Lucretia Love explores a dark, shadowy room stashed full of old chairs, and as she moves, her shadow slowly glides across a chair – revealing that the killer is quietly sitting there.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6d8lNhHgtEDE8i4ZCdJQZ-rzax__J35Y_bbdYy58mO547bXRx8fL0CB7K_DDIAEuK1hvlVd0qL-UurZD39hzjhzQyJlrUwnWEJSRRHwv84Z7AkQ2QSiooyej4CS4f9OkWD0XFV3H7hdA/s1600/Empty+Stage1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6d8lNhHgtEDE8i4ZCdJQZ-rzax__J35Y_bbdYy58mO547bXRx8fL0CB7K_DDIAEuK1hvlVd0qL-UurZD39hzjhzQyJlrUwnWEJSRRHwv84Z7AkQ2QSiooyej4CS4f9OkWD0XFV3H7hdA/s400/Empty+Stage1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6in0BgHFEQYldk4xmw-DjNw8A8kbjATdCJZWKG1WJ4tZDBI2ddXSOiFoUm3pKYd78BK-VTDBW02JchvtkItDSiZxBpmNeqZLDUyrBTgqZ4bTb_4i8KFn1IGgflylRwaCTFGoQ732TTqk/s1600/Empty+Stage2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6in0BgHFEQYldk4xmw-DjNw8A8kbjATdCJZWKG1WJ4tZDBI2ddXSOiFoUm3pKYd78BK-VTDBW02JchvtkItDSiZxBpmNeqZLDUyrBTgqZ4bTb_4i8KFn1IGgflylRwaCTFGoQ732TTqk/s400/Empty+Stage2.jpg"></a></div>
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<i>A ghostly voice speaks from the empty stage in this wonderful little sequence</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsc3GKau86gtbFHZS26P21jbEUBJE9V3V4XPb1JEvXDZDoxOVMjGUE5ssOjTgr_aDiVR0bv4NmT29HIpWIGZdgOd11g_gYVjHh5UZNny74rgdy0ZQsTnMkDRUCfyKT-D-2vJtc3fCoBqs/s1600/Creepy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsc3GKau86gtbFHZS26P21jbEUBJE9V3V4XPb1JEvXDZDoxOVMjGUE5ssOjTgr_aDiVR0bv4NmT29HIpWIGZdgOd11g_gYVjHh5UZNny74rgdy0ZQsTnMkDRUCfyKT-D-2vJtc3fCoBqs/s400/Creepy.jpg"></a></div>
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<i>Lucretia Love explores a dark, sinister room in one of the film’s creepiest scenes</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiez_d1YAvQR9n05VWNx8G7DH2Bm639ls9fYUNmhhpM8G7HwheHkA3voQqFr6SkqD1O885umkc679VLFStu2Ui329VVBfqtbNAWP4a4-UOQRi1vSwI5AeYgsZ1jsoVaVdHfo4ZM6UyWy9c/s1600/Shadow1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiez_d1YAvQR9n05VWNx8G7DH2Bm639ls9fYUNmhhpM8G7HwheHkA3voQqFr6SkqD1O885umkc679VLFStu2Ui329VVBfqtbNAWP4a4-UOQRi1vSwI5AeYgsZ1jsoVaVdHfo4ZM6UyWy9c/s400/Shadow1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT9wPQSJSfacfgBcC_gJf7e-xIghEwlT9fvlvVqGCTJyXpFEfqcrU-VbtAwJ_FQ2jz6j7GVd5q4KsDYJY7oRW8aczTZ6bZcKuy9nb0e54Z6hoSihC97H7q2C88pQAvvEE8DvPGfkvb91g/s1600/Shadow2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT9wPQSJSfacfgBcC_gJf7e-xIghEwlT9fvlvVqGCTJyXpFEfqcrU-VbtAwJ_FQ2jz6j7GVd5q4KsDYJY7oRW8aczTZ6bZcKuy9nb0e54Z6hoSihC97H7q2C88pQAvvEE8DvPGfkvb91g/s400/Shadow2.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUEcLtDiz6wuB4WPS-JdY-QwOQQuUWR7TnBSjEHZr0Psjp5jWj_f5mwov9yD0B5SqIY6W3jzuuiYPNW8aEnwY7iZ9QtYDAVnXbFOJULrboUGz_K1T9rW_hn9IV3hz7Kbo2GvBT-1TlnE/s1600/Shadow3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUEcLtDiz6wuB4WPS-JdY-QwOQQuUWR7TnBSjEHZr0Psjp5jWj_f5mwov9yD0B5SqIY6W3jzuuiYPNW8aEnwY7iZ9QtYDAVnXbFOJULrboUGz_K1T9rW_hn9IV3hz7Kbo2GvBT-1TlnE/s400/Shadow3.jpg"></a></div>
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<i>A gliding shadow quietly reveals the killer’s presence in this terrific shot</i>
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A notable recurring motif in the film is its striking use of mirrors, which is used to create stylish images and bring depth to the compositions. This is evident, for example, in several instances where mirror images are used to quietly reveal a character entering the room; and best of all in a terrific sequence in which the ravishing Paola Senatore suddenly decides to do a topless dance for no good reason whatsoever, and the mirror behind her reflects not only Senatore’s dancing, but also the image of another mirror in front of her.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwXAC8SrT1CE4NDnL5uW7d9ZTFyQTzwNWAejVK7M3jDsekXHszs5t-9rUiYu11Ay4BdXa1XPmX-j-6qn_qrj0Xt96T6txV3AmDvXWnSHe_SLMvHnB3ElnK5wmAUqIOdTr245Xd0KXWbJg/s1600/Mirrors1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwXAC8SrT1CE4NDnL5uW7d9ZTFyQTzwNWAejVK7M3jDsekXHszs5t-9rUiYu11Ay4BdXa1XPmX-j-6qn_qrj0Xt96T6txV3AmDvXWnSHe_SLMvHnB3ElnK5wmAUqIOdTr245Xd0KXWbJg/s400/Mirrors1.jpg"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEKzMib19f33IfO_OImHDdzfRdIYYAgY5Qc4y8SQf6gE-58gJ1fEfGVoGeHvVM7vQkhG4h0ndF6X8iixSFuSbiSRrDf4qMNeOcs0lAUgTtfhgCgUYOl-emNhfTS5HatKcr69X6xbVzjXw/s1600/Mirrors2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEKzMib19f33IfO_OImHDdzfRdIYYAgY5Qc4y8SQf6gE-58gJ1fEfGVoGeHvVM7vQkhG4h0ndF6X8iixSFuSbiSRrDf4qMNeOcs0lAUgTtfhgCgUYOl-emNhfTS5HatKcr69X6xbVzjXw/s400/Mirrors2.jpg"></a></div>
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<i>A very nice shot in which a mirror is used to reveal Eduardo Filipone’s entrance in the room as he startles Rosanna Schiaffino by sneaking up on her</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIbyqW0TVDPNJoKbChriwjprbHwe1jhG3_YaeSj3mGp_8_zOeQmEppUjqIDvcRItvm8tgKa-65XPtMK6zIU0yxuFcB_ejCG6dP8XzlTuvnaBbCjkS9byz4-HcRTz_UMIaPJdfDH7zHaE/s1600/Sexy+Dance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIbyqW0TVDPNJoKbChriwjprbHwe1jhG3_YaeSj3mGp_8_zOeQmEppUjqIDvcRItvm8tgKa-65XPtMK6zIU0yxuFcB_ejCG6dP8XzlTuvnaBbCjkS9byz4-HcRTz_UMIaPJdfDH7zHaE/s400/Sexy+Dance.jpg"></a></div>
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<i>You may not notice it on the first viewing (and understandably so) but this is a terrifically composed shot that makes excellent use of two mirrors to bring depth to the frame</i>
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<i>The Killer Reserved Nine Seats</i> is definitely one of those films where the actors take a backseat to the atmosphere and the killings, but Bennati has nevertheless assembled some solid and recognizable performers whose presence here is most welcome. The best-known faces in the cast to fans of Italian B movies are probably Janet Agren and Howard Ross, who both get bumped off early in the proceedings – leaving most of the spotlight to Romanian-born Chris Avram as the tormented Patrick, and 1960s starlet Rosanna Schiaffino as his longing ex-wife. Avram – well-known for his performances in such other gialli as <i>A Bay of Blood</i> (1971) and <i>So Sweet, So Dead</i> (1972) – is solid in the leading role and brings the necessary gravitas to the part, whereas Schiaffino – by far the biggest name in the film at the time it was made – lends both charm, elegance and vulnerability to what is the film’s only really sympathetic character. The one that really steals the show, however, is the great Paola Senatore, who is just spectacular here – whether she’s delivering snarky comments or doing drugs and dancing naked.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiajg76pmIsZ824cXnbokrv12BtxvDbotZ19YW0zsmuxbYaKjXFtd6RGnlb0qLFTRiQavDAX-en1Dw3gM9IrxbZ6qzjJXxU-qnCqZ1wKmHlGZgHnPYqrojGQA2OaiN0nLtrPRYAtyRKTAo/s1600/Schiaffino+Avram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiajg76pmIsZ824cXnbokrv12BtxvDbotZ19YW0zsmuxbYaKjXFtd6RGnlb0qLFTRiQavDAX-en1Dw3gM9IrxbZ6qzjJXxU-qnCqZ1wKmHlGZgHnPYqrojGQA2OaiN0nLtrPRYAtyRKTAo/s400/Schiaffino+Avram.jpg"></a></div>
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<i>Rosanna Schiaffino and Chris Avram get the most screen time...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5ee83qNwf_SntwwBzEOnQB1sioBbMrUWXs12MYYSkXcJCIJR1tlHkWxTtj9b9xYbkXvs39Hyvzdpxnb0H9mH2gCfpn14WJYgOPODhrS5nZ7drWviNuhI7FmNmNVj_bPeVyk2iGftDmc/s1600/Sexy+Dance2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5ee83qNwf_SntwwBzEOnQB1sioBbMrUWXs12MYYSkXcJCIJR1tlHkWxTtj9b9xYbkXvs39Hyvzdpxnb0H9mH2gCfpn14WJYgOPODhrS5nZ7drWviNuhI7FmNmNVj_bPeVyk2iGftDmc/s400/Sexy+Dance2.jpg"></a></div>
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<i>...but it's Paola Senatore who steals the show. No question about it!</i>
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The remaining actors don’t get too much to do here but Gaetano Russo of <i>Crazy Desires of a Murderer</i> (1973) and the ultra-trashy <i>Trhauma</i> (1979) is always convincing as a major sleazebag and his performance as Senatore’s boyfriend is no exception. The sexy Eva Czemerys as Avram’s lesbian sister is used mostly decoratively, but her regal posture, frosty demeanor and catty gaze keeps one glued to the screen. Blonde American-born starlet Lucretia Love is somewhat less fortunate as Czemerys’ lesbian lover because she is easily the stupidest character in the film. The camera, however, loves her – framing the photogenic, wide-eyed and expressive actress in a series of stunning close-ups.
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<i>The camera is in love with Lucretia Love</i>
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But in spite of its major draws, <i>The Killer Reserved Nine Seats</i> is certainly not without its share of faults, the chief of which is the lack of any likable characters. Not even the imminent threat of a brutal murderer is able to prevent these people from bickering and bombarding each other with snarky comments (“You mean son of a bitch! I hope you're the next victim!” etc), and whenever they’re not busy bitching, they engage in unlikely activities such as consuming drugs, having sex or stupidly wandering off on their own to get killed. While one might argue that this adds to the overall fun, the characters’ moronic behavior also makes it hard to really root for any of them. The constant arguing over things from the past also tends to bog the film down with a lot of dialogue which does little to develop any of the cardboard characters much.
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<i>What you do to pass the time when you’re locked in and there’s a sadistic killer on the prowl</i>
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It is also regrettable that nothing more is made of the old parchment with macabre illustrations that foretell the order and method of each murder. This idea – while clearly cribbed from <i>Ten Little Indians</i> – is a nice little touch that could have been used to creepily foreshadow the killings, but instead it’s forgotten about almost immediately and we don’t even get to see more than three of the parchment’s illustrations up close. A wasted opportunity!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMDLLAP3mNXWyHSX1mnc7fyikTcskuW_UIu0LPDioAFP8WyvbtGueJb67LyY3mwl9Xkx0XTvPsHSjycgN6FyGRKXh3YGCP8k-0pwO5n-Q28Q0SV8tvMWmuJaAFbErOYNDfuXCop_UTpc/s1600/Parchment4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpMDLLAP3mNXWyHSX1mnc7fyikTcskuW_UIu0LPDioAFP8WyvbtGueJb67LyY3mwl9Xkx0XTvPsHSjycgN6FyGRKXh3YGCP8k-0pwO5n-Q28Q0SV8tvMWmuJaAFbErOYNDfuXCop_UTpc/s400/Parchment4.jpg"></a></div>
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<i>The sadly under-used parchment</i>
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In spite of these reservations, <i>The Killer Reserved Nine Seats</i> is for the most part a sleek-looking and enjoyable film that benefits tremendously from its atmospheric locations, sleazy thrills and an interesting script which takes what initially appears to be a standard drawing room mystery and spins it in all kinds of unexpected directions. It makes the film unpredictable, and you’d be hard pressed to guess the final solution to the mystery before it’s revealed at the end.
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After decades of being available only through fuzzy-looking VHS tapes or even worse-looking bootlegs of said tapes, Camera Obscura’s DVD and Blu-ray release of this obscure giallo comes as a very welcome treat. And let me tell you, this is an excellent release that finally does the film justice! I won’t bore you with technical details because I’m not particularly good at that stuff and I’m more interested in the actual films anyway, but in short this is a clean, detailed and stunning transfer. Based on my initial viewings of the film through various bootlegs, I didn’t consider it to be all that stylishly shot, but seeing it for the first time in excellent condition has forced me to reconsider. This really is a good-looking and well-photographed film, and this release serves as a potent reminder of just how big a difference a solid transfer can make!
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<i>Just two examples of the many wonderfully composed and lit sequences which can finally be appreciated in all their glory</i>
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Also, you get both English and Italian audio with optional English subtitles. Always love it when they give us a choice! Both tracks are solid but I’ll give a slight edge to the Italian dub, which sounds a bit more sophisticated. The English dub has its share of silly dialogue, but for a lot of viewers this will undoubtedly just add to the fun. And, yes, a lot of the regular voice actors are present (I recognized Susan Spafford as the voice of Eva Czemerys, Silvia Faver as the voice of Janet Agren and Ken Belton as the voice of Andrea Scotti).
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We even get a few nice extras – more than one would really expect for such an obscure film – starting with two great interviews with screenwriter Biagio Proietti and actor Howard Ross. Proietti provides valuable insight into the Italian screenwriting process of the 1970s and shares interesting memories of Giuseppe Bennati, while Ross offers nice recollections of Bennati and of his fellow cast members (his comments about Paola Senatore are particularly amusing). Ross has aged incredibly well, by the way, and is still looking very sharp. The main extra is an audio commentary by Marcus Stiglegger and Kai Neumann, who provide a lively and engaging in-depth discussion in which they are able to find a perfect balance between serious analysis and jokier parts in which they point out film’s sillier elements. A couple of their analytical points <i>do</i> strike me as a bit far-fetched (I’m not at all buying their argument that the theater setting gives the film a meta-perspective) but on the whole this is an insightful and engaging commentary that is well worth listening to. Oh, and there’s also a photo gallery which yours truly contributed to, and it was very cool for me to be able to contribute to this release – even if just in a small way.
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Overall a very nice release of a very nice giallo. If you’re a giallo fan you need to get this!
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© 2014 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDy7q0Ha7P3JhwCFvzoMfi8CpKIxdalasdCS6mPZFN8PQs_Czb0-bpS7nGjCSofdm1U_hNkmRYpzOCU-Rj16hmv5Wa7PaJhDPnaBy8kBx1FPY0v8Khm95xLEmBw5ka8HrpLTpKLBeFmxk/s1600/Chris+Avram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDy7q0Ha7P3JhwCFvzoMfi8CpKIxdalasdCS6mPZFN8PQs_Czb0-bpS7nGjCSofdm1U_hNkmRYpzOCU-Rj16hmv5Wa7PaJhDPnaBy8kBx1FPY0v8Khm95xLEmBw5ka8HrpLTpKLBeFmxk/s400/Chris+Avram.jpg"></a></div>
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<i>Chris Avram as Patrick Davenant</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysVqvojmnYaWbdiZVHkZ8RbYYvKPJeBQ3cGvzEaleZ95WVyKshhz-9h-8_eZP40aPoAXRQ9BpgG7O7uK442GWCCrpjict4TWbGt3vmqYRxPFbhKcqLyEBgBXptesPAej29QW99hirTHc/s1600/Rosanna+Schiaffino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjysVqvojmnYaWbdiZVHkZ8RbYYvKPJeBQ3cGvzEaleZ95WVyKshhz-9h-8_eZP40aPoAXRQ9BpgG7O7uK442GWCCrpjict4TWbGt3vmqYRxPFbhKcqLyEBgBXptesPAej29QW99hirTHc/s400/Rosanna+Schiaffino.jpg"></a></div>
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<i>Rosanna Schiaffino as Vivian</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjTlThsQfDTDahJifid3guZUXxm0FgdS4Th74eAg6wvrcx0G3QYxi11cnpSNvFp25AiaeQMd0lzS8mFS8ekvTVVrUHaanQ0kJDRjMbmHkuZQFC58oi8EWE8Tbu3lBDNuRhomNssAYt0Y/s1600/Paola+Senatore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjTlThsQfDTDahJifid3guZUXxm0FgdS4Th74eAg6wvrcx0G3QYxi11cnpSNvFp25AiaeQMd0lzS8mFS8ekvTVVrUHaanQ0kJDRjMbmHkuZQFC58oi8EWE8Tbu3lBDNuRhomNssAYt0Y/s400/Paola+Senatore.jpg"></a></div>
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<i>Paola Senatore as Lynn Davenant</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIDwHgDn2pPALHaFCA2ULP7VCBnDQf0uKUWivvybxE1R4cwZ2bKxSnv4Sr4aEyfb52_RRf18ZTinIGs0xiv6b1nymNdaySdmpk2TC_7IOD0to5BKPVt8WPJHEaMmqPvcUuAZaIy5fSBI/s1600/Gaetano+Russo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfIDwHgDn2pPALHaFCA2ULP7VCBnDQf0uKUWivvybxE1R4cwZ2bKxSnv4Sr4aEyfb52_RRf18ZTinIGs0xiv6b1nymNdaySdmpk2TC_7IOD0to5BKPVt8WPJHEaMmqPvcUuAZaIy5fSBI/s400/Gaetano+Russo.jpg"></a></div>
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<i>Gaetano Russo as Duncan Foster</i>
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<i>Eva Czemerys as Rebecca Davenant</i>
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<i>Lucretia Love as Doris</i>
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<i>Andrea Scotti as Albert</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpCz9lIGaDpWLKx7isuVkgKLtMdDRJRR6PTM5Sor8nHbAMA7okT6_aNvcPRXtxYLcXQ4Qm_bXQRNMD6AD9UsD0PnJ54QOa4CVFTaQ_PubYO_6DGrdSVng8vN1HRdTStp7P8i_hMkfzA0/s1600/Howard+Ross.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpCz9lIGaDpWLKx7isuVkgKLtMdDRJRR6PTM5Sor8nHbAMA7okT6_aNvcPRXtxYLcXQ4Qm_bXQRNMD6AD9UsD0PnJ54QOa4CVFTaQ_PubYO_6DGrdSVng8vN1HRdTStp7P8i_hMkfzA0/s400/Howard+Ross.jpg"></a></div>
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<i>Howard Ross as Russell</i>
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<i>Janet Agren as Kim</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWuRvK-LL7DPmzWSXXLdORUHOA2fmuhPRtPgqV486UecQZMSVSAixl2Ixyqx2fxxDu8DWvh6XFNonjgX7laHRXa91K5iuZqZgd2sZVjYdygX_VzL-Lb9rlJNJGSFUzyzZlswBAzAa7lMY/s1600/Eduardo+Filipone.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWuRvK-LL7DPmzWSXXLdORUHOA2fmuhPRtPgqV486UecQZMSVSAixl2Ixyqx2fxxDu8DWvh6XFNonjgX7laHRXa91K5iuZqZgd2sZVjYdygX_VzL-Lb9rlJNJGSFUzyzZlswBAzAa7lMY/s400/Eduardo+Filipone.jpg"></a></div>
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<i>Eduardo Filipone as The Mystery Man</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-89203984252703857542014-07-25T14:33:00.000-07:002014-07-25T14:33:14.152-07:00One year later<br />
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Wow! It's been almost exactly one year now since my previous blog entry and that's a long time! So what happened? Well, nothing too special really. I just decided I needed a little break from films and have been keeping myself busy with other things. I never intended for it to be a really long break but before I knew it a whole year had gone by. Time really flies, doesn't it?
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But now it's time to resurrect this blog from its Cinderella sleep, and in the days to come I will finally get back to covering some of those weird and wonderful European films that I love so much.
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So what can you expect to read about in the time to come? Well, for starters I am working on a couple of articles on some really obscure and elusive but oh so interesting stuff - namely the mythical <i>Malia</i> horror photo-novels, and Alessandro Santini and Bruno Vani's unfinished horror film <i>Una vergine per Satana</i> (1971), which would later form the basis for Renato Polselli's bizarre patchwork flick <i>Casa dell'amore... la polizia interviene</i>. These are both works in progress, however, and it will probably take some time before they are finished.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBbhHesPQ8HDFGw0OMzpHo7C4oqJ7LNEUHiU9RLDVTnfMMm8vy4DPM624uvw6yR10DXBm_qtHQJfwv2nz8Thqpg0LJNhB4kCpbR-CZsLemixlTksK4uFdBYkSC45ZRt-lXQv9dkDTcc4/s1600/Malia+I+Fotoromanzi+Del+Brivido.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBbhHesPQ8HDFGw0OMzpHo7C4oqJ7LNEUHiU9RLDVTnfMMm8vy4DPM624uvw6yR10DXBm_qtHQJfwv2nz8Thqpg0LJNhB4kCpbR-CZsLemixlTksK4uFdBYkSC45ZRt-lXQv9dkDTcc4/s400/Malia+I+Fotoromanzi+Del+Brivido.jpg" /></a></div>
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<i>The cover to one of the elusive</i> Malia <i>photo-novels, which are highly sought after by collectors</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg209CvGiBcJe7-wVQWl_cLDsblwbSVwg9BXhtvnELxb3jbSmgwFUREydG1cXBigHJ3zkPFEPn6Kv-YHqCz5Kf4D5SIvWEzrjk4PBJAxIJH9uG-xO3toXt6FJaDfW2dn480l6_cxSXKwXI/s1600/Una+Vergine+Per+Satana.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg209CvGiBcJe7-wVQWl_cLDsblwbSVwg9BXhtvnELxb3jbSmgwFUREydG1cXBigHJ3zkPFEPn6Kv-YHqCz5Kf4D5SIvWEzrjk4PBJAxIJH9uG-xO3toXt6FJaDfW2dn480l6_cxSXKwXI/s400/Una+Vergine+Per+Satana.jpg" /></a></div>
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<i>A rare still from the unfinished horror film</i> Una vergine per Satana<i>, featuring blonde starlet Katia Cardinali, who is otherwise best known for her performance as Miss Heyndrich in Renato Polselli's</i> Delirium <i>(1972)</i>
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One article which you can expect to see very soon, however, is my tribute to the late, great Carolynn De Fonseca, the legendary dubbing actress whose unmistakable and breathy voice can be heard in the English versions of many hundreds of European films. This tribute will closely examine Carolynn's long and fascinating career, and feature feature plenty of pictures from her elusive on-screen roles as well as an extensive dubbing filmography with more than 300 titles which I've compiled over the years. So stay tuned!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNxCQmxQlXusLKXPsFw0JqgGzbFQdezTE9fFt-TSYTcH8LIB44SFurOrIKQOymtHUoadifI71OfabC_vRGQounaDc0toydoSIP4TJmYV9TCeSog2bshVnhkzmR_vumEXC4NIIeNsTJqM/s1600/Carolynn+De+Fonseca+-+Lonely+Lady.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNxCQmxQlXusLKXPsFw0JqgGzbFQdezTE9fFt-TSYTcH8LIB44SFurOrIKQOymtHUoadifI71OfabC_vRGQounaDc0toydoSIP4TJmYV9TCeSog2bshVnhkzmR_vumEXC4NIIeNsTJqM/s400/Carolynn+De+Fonseca+-+Lonely+Lady.jpg" /></a></div>
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<i>The remarkable Carolynn De Fonseca</i>
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And last but not least there will of course be new reviews. I think I'll refrain from revealing which films will be covered but you'll get some pretty big hints by taking a look at the screenshots below. Extra points to anyone who is able to recognize all of the films!
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com3tag:blogger.com,1999:blog-3249679003059730182.post-81057495543180765162013-07-02T04:41:00.000-07:002015-07-07T16:46:06.004-07:00The Murder Clinic/La lama nel corpo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKkfnf2DDB-EyrTYuC0-GTSHmN3midH83035g8udMIi_ZCITEpIM1MBcBPZVi1OIt-XgOSGKJ_m0J0gdOJH0UX53z9Smt_XpsOCnOtE8aSku1b8JE6CUMOqP_Kh-czgrrE1E10W_sY4A/s1412/Murder+Clinic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKkfnf2DDB-EyrTYuC0-GTSHmN3midH83035g8udMIi_ZCITEpIM1MBcBPZVi1OIt-XgOSGKJ_m0J0gdOJH0UX53z9Smt_XpsOCnOtE8aSku1b8JE6CUMOqP_Kh-czgrrE1E10W_sY4A/s400/Murder+Clinic.jpg" width="269" /></a></div>
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<b>Italy/France, 1966
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Directed by Lionello De Felice
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William Berger, Françoise Prevost, Barbara Wilson, Mary Young, Harriet White, Germano Longo, Massimo Righi, Delfi Mauro, Anna Maria Polani, Philippe Hersent, Rossella Bergamonti, Rock Scandurra</b>
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Here is yet another example of the early gialli from the 1960s – made in the years before Dario Argento and his ‘animal trilogy’ would come to dictate the success formula of the genre. Released in Italy as <i>La lama nel corpo</i> – i.e. The Knife in the Body – and supposedly based on a novel with the same title by a certain Robert Williams, <i>The Murder Clinic</i> was more successful than many of the other early gialli and received a fair amount of worldwide distribution. In the US it was cut down, renamed <i>Revenge of the Living Dead</i>, and shown as part of a triple horror feature named “Orgy of the Living Dead” – together with Mario Bava’s <i>Kill, Baby... Kill!</i> (as <i>Curse of the Living Dead</i>) and Amando De Ossorio’s <i>Malenka, the Niece of the Vampire</i> (as <i>Fangs of the Living Dead</i>). Moviegoers who showed up expecting to catch a zombie film must have been disappointed as <i>The Murder Clinic</i> features no living dead action of any sort. In fact, it is more of a hybrid between classic gothic horror and giallo mystery.
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Set in 1870, the titular murder clinic is actually a “rest home” for the mentally ill, situated in the forest-filled countryside. It’s a huge gothic villa – the same that was used in <i>The Third Eye</i> (1966), <i>The Nights of Terror</i> (1980) and <i>Patrick Still Lives</i> (1980) – and is run by the handsome Dr. Robert Vance (William Berger), who also resides there with his wife and the medical staff. Dr. Vance was once a promising physician who seemed destined for great things but it appears that some kind of scandal in his past put an abrupt end to his career, and hence his reason for running this obscure asylum, which is occupied only by a few patients.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji_O1U3XxhdioUNtzCBqOkRB3f9FZ1g5u_KPuzYTF2ga9HoI60xabpFN6szXCaPoWmi77XoLCaQVBj966WnzeI4OyHW0nWS0MUoTKtiO3V3FAweQ6PdUV-Jc1gUIz2RAZkvHMgthJwO44/s827/Murder+Clinic+-+Dr+Vance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji_O1U3XxhdioUNtzCBqOkRB3f9FZ1g5u_KPuzYTF2ga9HoI60xabpFN6szXCaPoWmi77XoLCaQVBj966WnzeI4OyHW0nWS0MUoTKtiO3V3FAweQ6PdUV-Jc1gUIz2RAZkvHMgthJwO44/s400/Murder+Clinic+-+Dr+Vance.jpg" width="400" /></a></div> <i>The mysterious Dr. Vance</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkB5kbqMzWoUV6F-3jhHCd4MRCWdytC1vpqINgVKafJwzdIYebkrsTIC15nhAEUgLg2OvkbixKj0RIG-2FFzHEN8CzcicwOivkvhpqiDl8x0MgJ1rwiAnoNMzCSeD2vc_WDfK8vFOBMU/s827/Murder+Clinic+-+Clinic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkB5kbqMzWoUV6F-3jhHCd4MRCWdytC1vpqINgVKafJwzdIYebkrsTIC15nhAEUgLg2OvkbixKj0RIG-2FFzHEN8CzcicwOivkvhpqiDl8x0MgJ1rwiAnoNMzCSeD2vc_WDfK8vFOBMU/s400/Murder+Clinic+-+Clinic.jpg" width="400" /></a></div> <i>The murder clinic!</i>
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One of the patients is Janey (Anna Maria Polani), a young woman who is mute – presumably due to some type of trauma. As we first meet Janey she’s in her room with a newly arrived nurse named Mary (Barbara Wilson), who reads aloud to her from a book about the execution of Mary Stuart. I’m not so sure that this is the most appropriate type of literature for a girl who is clearly quite traumatized, but then again I’m not an asylum nurse, so what do I know? Anyway, their reading session is interrupted by the arrival of Dr. Vance’s stern assistant and housekeeper Sheena (Harriet White), who informs them it’s 9 in the evening and all patients must go to sleep.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMbiGr_GTuUf2qI9hG1RR1uE8lChTmDDF0nFQ3KdQe2xuu5RGe9Vq5oMgzIOwySLGWPgyTjH8-8DMNVdBYV-Du3DGvYdkZUyxPjMtsmw15orWfKDt-iVGcnhA6f15DlYLEB35zB4cN7tA/s828/Murder+Clinic+-+Janey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMbiGr_GTuUf2qI9hG1RR1uE8lChTmDDF0nFQ3KdQe2xuu5RGe9Vq5oMgzIOwySLGWPgyTjH8-8DMNVdBYV-Du3DGvYdkZUyxPjMtsmw15orWfKDt-iVGcnhA6f15DlYLEB35zB4cN7tA/s400/Murder+Clinic+-+Janey.jpg" width="400" /></a></div> <i>Janey</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULR2dL3-ya0wuPREexGkwmdfwq-Vb7d6oJOgisCzNVFqBL-zlpJLPlyZ72gioQAcP1G7xBqmbh8k-PA-_DObYhV1YrdS-N5sBOLHgB1W0ynx7XYJ56R16haBl7AJCSs0K_7KEU0cY2bU/s824/Murder+Clinic+-+Bedtime+Story.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULR2dL3-ya0wuPREexGkwmdfwq-Vb7d6oJOgisCzNVFqBL-zlpJLPlyZ72gioQAcP1G7xBqmbh8k-PA-_DObYhV1YrdS-N5sBOLHgB1W0ynx7XYJ56R16haBl7AJCSs0K_7KEU0cY2bU/s400/Murder+Clinic+-+Bedtime+Story.jpg" width="400" /></a></div> <i>Poor Janey is read a not very cheerful bedtime story</i>
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But later that night, Janey is awakened from her sleep when a mysterious figure wearing a black cloak and black leather gloves breaks into her room and attacks her with a straight razor. The poor mute girl is unable to call for help but manages to escape out the window and runs for her life. But when she reaches the garden, Janey – in what must surely be some kind of cinematic first – suddenly interrupts her flight in order to drink from a fountain! All that running must have made her thirsty, I guess, and while she’s busy drinking, the killer sneaks up on her and slashes her to death.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKgi4NOqWgZx0BHFclBjAN30q3E0EjqVJi2hRUzXcNrC-mZXjqLjHAahNaIB4yB3yI_a7qz86ddX2bgMvfBVE1FpZHITgTfNNXlsP2hF_jF4XjANkilGtC62QZQR0FDrYAKQ3RYjMW7BU/s828/Murder+Clinic+-+Thirsty1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKgi4NOqWgZx0BHFclBjAN30q3E0EjqVJi2hRUzXcNrC-mZXjqLjHAahNaIB4yB3yI_a7qz86ddX2bgMvfBVE1FpZHITgTfNNXlsP2hF_jF4XjANkilGtC62QZQR0FDrYAKQ3RYjMW7BU/s400/Murder+Clinic+-+Thirsty1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKHmMXGvPh061kNBCVfzj1KCB6k9nHvMuH0VBjPVQlJQuMLUAmBsUPHtcK5rm_xCIsYHJ5ccluaPe5r6aF6Eja56hH2tG3XJSqYvaydCY0tuBOAltl-vPs9lHD2t5TIOO2wViPqDaCKw/s832/Murder+Clinic+-+Thirsty2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKHmMXGvPh061kNBCVfzj1KCB6k9nHvMuH0VBjPVQlJQuMLUAmBsUPHtcK5rm_xCIsYHJ5ccluaPe5r6aF6Eja56hH2tG3XJSqYvaydCY0tuBOAltl-vPs9lHD2t5TIOO2wViPqDaCKw/s400/Murder+Clinic+-+Thirsty2.jpg" width="400" /></a></div> <i>Janey chooses the worst possible moment to quench her thirst...</i>
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Next morning, the kind nurse Mary goes to check up on Janey and is surprised that she is nowhere to be found. She is informed by Dr. Vance that Janey left at the crack of dawn as her relatives showed up to take her back home. Dr. Vance and Sheena are both very evasive on the subject, however, and Mary is clearly a bit skeptical. Her concerns are not lessened by the fact that a lot of strange noises are heard coming from the third floor. Mary wonders what’s going on up there but Dr. Vance expressly forbids her and the rest of the staff from going upstairs.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelokS4iNjjL9id8M8e1sha0ybzLroEWzIUUMTpRl0CSWTrNvI_iqYiHu-0xhvezCT-yUpFwRxxhc1iDcy_4l_8OT6IZvZ3iMFHcO8Wt5tR5Z7lAzc-USB_bboSwI-tq43G8R-00MkVGw/s830/Murder+Clinic+-+Suspicious.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelokS4iNjjL9id8M8e1sha0ybzLroEWzIUUMTpRl0CSWTrNvI_iqYiHu-0xhvezCT-yUpFwRxxhc1iDcy_4l_8OT6IZvZ3iMFHcO8Wt5tR5Z7lAzc-USB_bboSwI-tq43G8R-00MkVGw/s400/Murder+Clinic+-+Suspicious.jpg" width="400" /></a></div> <i>Sheena and Dr. Vance’s fishy behavior doesn’t inspire much confidence</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnJ9MVAXgN0MBF6SM3OdaGcklR8YEhVSF0IRP4jwDZhffu-LBWi5w7m6xKtQktgucPKrdgNljSq_naQF1wUwqXqRd84XN7AE2dxh6e3NK6X3VHf-uOFXQK-RCGeD3PctvZhorYTp-5CI/s829/Murder+Clinic+-+Suspicious2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnJ9MVAXgN0MBF6SM3OdaGcklR8YEhVSF0IRP4jwDZhffu-LBWi5w7m6xKtQktgucPKrdgNljSq_naQF1wUwqXqRd84XN7AE2dxh6e3NK6X3VHf-uOFXQK-RCGeD3PctvZhorYTp-5CI/s400/Murder+Clinic+-+Suspicious2.jpg" width="400" /></a></div> <i>Mary wonders about the strange noises coming from upstairs</i>
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In the meantime we are introduced to a sexy and elegant woman named Gisèle de Brantôme (Françoise Prevost), who is travelling by coach together with a man (Philippe Hersent) who is assigned with escorting her to some place where she clearly doesn’t want to go. It seems that Gisèle has committed some rather wicked acts in order for her to be shipped away like this but the details of her actions are hazy to say the least. But fortunately for Gisèle, the coach gets stuck, and when her escort steps out to fix the problem she seizes the opportunity to club him over the head. This action scares the horses, who run off with the coach – trampling over the poor man and killing him in the process. Stranded, Gisèle wanders around in the forest until she happens upon a grotto. There, she witnesses Dr. Vance digging a hole in the ground to bury the corpse of poor Janey.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAdXrZ8Y0M1ddOtBWPsZoVQf6gxIbt_w8E7_Zo8yp3cxfAVHJHE0BQQIMoj9UqKEChM4FB0kzPhouDaYU2naszcjt7gKn2sYtVsspuFJqdrcYB0-ii_djsrJpMnEaayz8gxWXfcaUe0Nk/s830/Murder+Clinic+-+Grotto1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAdXrZ8Y0M1ddOtBWPsZoVQf6gxIbt_w8E7_Zo8yp3cxfAVHJHE0BQQIMoj9UqKEChM4FB0kzPhouDaYU2naszcjt7gKn2sYtVsspuFJqdrcYB0-ii_djsrJpMnEaayz8gxWXfcaUe0Nk/s400/Murder+Clinic+-+Grotto1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg53zTdgvhbJvBQdQY2PB4RQpzjEpBpEXi_lRsS19do-BV3oBNjf8UAhGsHtdafEGIqa1B3AbvtNKAWbtW72nunVc5924rxLN7eKn1IOVxp4udrZFsbb2fSbZHxPTkjZ5guJ5cgJFLT-qM/s830/Murder+Clinic+-+Grotto2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg53zTdgvhbJvBQdQY2PB4RQpzjEpBpEXi_lRsS19do-BV3oBNjf8UAhGsHtdafEGIqa1B3AbvtNKAWbtW72nunVc5924rxLN7eKn1IOVxp4udrZFsbb2fSbZHxPTkjZ5guJ5cgJFLT-qM/s400/Murder+Clinic+-+Grotto2.jpg" width="400" /></a></div> <i>Gisèle discovers a dark secret</i>
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Gisèle quickly runs away but ends up falling asleep in the forest. She is eventually found by Dr. Vance, who brings her back to the clinic and kindly offers to let her stay as his guest. Gisèle happily accepts the invitation and keeps quiet about what she has witnessed in the forest. However, she quickly starts snooping around to try and find out more about what kind of secrets Dr. Vance is keeping, and it soon transpires that all of the strange noises in the villa are coming from a horribly disfigured woman that Dr. Vance keeps hidden away in the attic. It even appears as though the good doctor might be responsible for the woman’s disfigurement...
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9tIrYp4SgD8cAOcCw3IrsDfxtRMwXoNqR5BrrF5mjKkkU0gSN-tsjclfl-6eBma_WyeFheMIqOHTgRGmA-iZQNYxquJcT_-pV0B03W48cSSaNNUSYgWqD8gHjsIjiw1ZK2aazCJS5mA/s830/Murder+Clinic+-+Snooping.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9tIrYp4SgD8cAOcCw3IrsDfxtRMwXoNqR5BrrF5mjKkkU0gSN-tsjclfl-6eBma_WyeFheMIqOHTgRGmA-iZQNYxquJcT_-pV0B03W48cSSaNNUSYgWqD8gHjsIjiw1ZK2aazCJS5mA/s400/Murder+Clinic+-+Snooping.jpg" width="400" /></a></div> <i>Gisèle snoops around where she ought not to...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibifkzFNz_wzd_f20wtDH3x8U0u_gZoqkfm9a9KXUrIBuwFQ6nwL9jTR-U5c-WmVLxcGRyTYJDrHPECuN96tS_Xkz9DwwUQN_HGeeXjMlGMK2CWi4qFUGjvV3USUQNTd-K4woPHrbz3Uw/s828/Murder+Clinic+-+Monster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibifkzFNz_wzd_f20wtDH3x8U0u_gZoqkfm9a9KXUrIBuwFQ6nwL9jTR-U5c-WmVLxcGRyTYJDrHPECuN96tS_Xkz9DwwUQN_HGeeXjMlGMK2CWi4qFUGjvV3USUQNTd-K4woPHrbz3Uw/s400/Murder+Clinic+-+Monster.jpg" width="400" /></a></div> <i>The “monster” in the attic</i>
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Soon, more women are slashed to death by the razor wielding figure in black but Dr. Vance is adamant that the police must not be involved. But is he really the murderer or is he merely protecting the deformed woman in the attic? Or perhaps the killer is someone else entirely? There is certainly no shortage of suspicious characters. In addition to the stern and fiercely loyal Sheena there’s also Lizabeth (Mary Young), Vance’s jealous and unhappy wife; Fred (Massimo Righi), a schizophrenic patient who <i>seems</i> very nice until he explodes in sudden fits of violence; and Ivan (Germano Longo), the brutish orderly who sleeps around with the nurses and always carries a knife or a razor around.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTsYUlBockXgbs9oE2pBU9PyS4PTd7zejJK4aWRcesYo_el2XcT8eEn9WwyeiFfRF6kihRB34g2ES3FlbUM_afHw4ExujTKDjT3Y9RBQ5AlfZfJA3MmtTM96k_bC7qJ01RDDHo1RUaOM/s826/Murder+Clinic+-+Suspect1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiTsYUlBockXgbs9oE2pBU9PyS4PTd7zejJK4aWRcesYo_el2XcT8eEn9WwyeiFfRF6kihRB34g2ES3FlbUM_afHw4ExujTKDjT3Y9RBQ5AlfZfJA3MmtTM96k_bC7qJ01RDDHo1RUaOM/s400/Murder+Clinic+-+Suspect1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLsiQ-GwMIdZFwTgEsI5awskinENtjIYGR3n8Sh64cu_Lcah4WmiVuRrnkSQGvuppSpFeRZFPrlK7fw13V8p1eElM9RVQNjlM4xPSn3TVtbLLjzhImUcTbIjKdomf0pfOJbP3n1iTowpE/s830/Murder+Clinic+-+Suspect2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLsiQ-GwMIdZFwTgEsI5awskinENtjIYGR3n8Sh64cu_Lcah4WmiVuRrnkSQGvuppSpFeRZFPrlK7fw13V8p1eElM9RVQNjlM4xPSn3TVtbLLjzhImUcTbIjKdomf0pfOJbP3n1iTowpE/s400/Murder+Clinic+-+Suspect2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAMRUL_Bz6l0BG9T7txB7HgkRZvpLiDWZYe2Ckdp39BKBGfD8MPyzIxXhSHV2oQJ1I13LuBkeoQSg-EuPV7o8pmG26JIQjw05VpS5_kyNKE9UrWdbeXSOjxPXIMpI_kJUQFWAjLY84qiQ/s825/Murder+Clinic+-+Suspect3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAMRUL_Bz6l0BG9T7txB7HgkRZvpLiDWZYe2Ckdp39BKBGfD8MPyzIxXhSHV2oQJ1I13LuBkeoQSg-EuPV7o8pmG26JIQjw05VpS5_kyNKE9UrWdbeXSOjxPXIMpI_kJUQFWAjLY84qiQ/s400/Murder+Clinic+-+Suspect3.jpg" width="400" /></a></div> <i>Which one is the murderer?</i>
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The opening titles and various publicity materials credit the direction to the pseudonymous “Michael Hamilton”, and according to pretty much every official source, the man behind this alias is Elio Scardamaglia, the film’s producer. However, Scardamaglia never directed anything else either before or after <i>The Murder Clinic</i>, and it seems rather odd that he would entrust the directorial duties to himself instead of someone with more experience. Well, as it turns out, he didn’t. In a Video Watchdog interview from 1997, the film’s screenwriter, Ernesto Gastaldi, clearly states that Scardamaglia produced the film but did not direct it. According to Gastaldi, the actual director of <i>The Murder Clinic</i> is Lionello De Felice, who made a few films in the 1940s and 50s but who remains pretty much forgotten about today. This is supported by various posters and promotional ads bearing a producer’s credit for Scardamaglia and a director’s credit for “Michael Hamilton”.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYx5vMGarrAZ45X8lN9Gy9Qq8USJTNytPcIcM6nu7fD-227XTz3nzkTC2e7y1pELeZGfGj4QHjbB6IpI3W2jnlHOgte8rUM7rfo9hHhJ3K_lUPiCizpovh6H0wpb00ybGqrMF9XA5JINI/s937/Murder+Clinic+French+Artwork1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYx5vMGarrAZ45X8lN9Gy9Qq8USJTNytPcIcM6nu7fD-227XTz3nzkTC2e7y1pELeZGfGj4QHjbB6IpI3W2jnlHOgte8rUM7rfo9hHhJ3K_lUPiCizpovh6H0wpb00ybGqrMF9XA5JINI/s400/Murder+Clinic+French+Artwork1.jpg" width="302" /></a></div> <i>French promotional art for the film. Note the credit for Elio Scardamaglia as producer and for “Michael Hamilton” as director</i>
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Many of the early gialli, such as <strong><em><a href="http://euro-fever.blogspot.com/2008/02/death-on-fourposterdelitto-allo.html">Death on the Fourposter</a></em></strong> (1964), <strong><em><a href="http://euro-fever.blogspot.com/2008/06/game-of-crimecrimine-due.html">A Game of Crime</a></em></strong> (1964), <i>Libido</i> (1965) and <strong><em><a href="http://euro-fever.blogspot.com/2013/06/a-come-assassino.html">A... come assassino</a></em></strong> (1966) were – in spite of their gothic castle settings and black & white photography – ultimately modern stories far removed from the traditions of classic Italian horror cinema. <i>The Murder Clinic</i>, however, fully embraces its gothic trappings and even opts for a period setting. In fact, Ernesto Gastaldi and Luciano Martino’s script throws in just about every hallmark of gothic horror – from ladies in nightgowns exploring dark hallways to a “monster” hidden away in the attic – and this concoction of old clichés isn’t particularly original. Hence the film’s novelty value is due to the way it mixes a classic gothic horror story with a twistful giallo mystery, and thankfully, the script’s mystery angle works quite well because Gastaldi and Martino have come up with a host of likely suspects – any one of whom could well be the murderer.
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Another important element is the styling of the killer as a dark-clad, razor wielding maniac with black leather gloves, which is very much in keeping with how the killers would be styled in many gialli released in the wake of Dario Argento’s films. But still, in terms of look and feel <i>The Murder Clinic</i> clearly favors a gothic atmosphere, and the razor murders feel almost a little tacked on, seeing as how they are brief and not terribly graphic. This might be connected to director Lionello De Felice’s background, for although he had contributed to the screenplays of a fair number of peplum adventures, De Felice’s directorial credits were mostly limited to a couple of musicals and comedies made in the 1940s and 50s. As such, he was probably a bit unsure about how to handle such violent scenes and it shows. Fortunately, De Felice is more successful in handling the old-school horror elements, and boasts a couple of good, atmospheric chills and great screaming scenes.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2WlkFF3thwHTOD8HEb99_LNGZlSj_2hRfaDdRJk6WfJqVCtPZMQVHg5SXIc7hAsvc_t_geHARdgYiJZcNBJM46xNU660b4s9xtxcLCPFNzbqGqNkOnfkHGRhOyliINvThLSAQjsbw1z0/s826/Murder+Clinic+-+Scare1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2WlkFF3thwHTOD8HEb99_LNGZlSj_2hRfaDdRJk6WfJqVCtPZMQVHg5SXIc7hAsvc_t_geHARdgYiJZcNBJM46xNU660b4s9xtxcLCPFNzbqGqNkOnfkHGRhOyliINvThLSAQjsbw1z0/s400/Murder+Clinic+-+Scare1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzNrweWxmo6KnO1ebYu_YYm-24tInIBkLbgNSGmi9FPSTRA5zBfUeHaQwAW9A6W2DZkuN-xMm9IkJNc5EeB1Q_ThCfQNpgdskeMQ5UsBGRPwPeCuzjTYpLVAaWFmz7VN6ZEsAt2YfeIY/s829/Murder+Clinic+-+Scare2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzNrweWxmo6KnO1ebYu_YYm-24tInIBkLbgNSGmi9FPSTRA5zBfUeHaQwAW9A6W2DZkuN-xMm9IkJNc5EeB1Q_ThCfQNpgdskeMQ5UsBGRPwPeCuzjTYpLVAaWFmz7VN6ZEsAt2YfeIY/s400/Murder+Clinic+-+Scare2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflZQ568HhhDV4VRLmGyjKxOeg-QsBOS34PUB32dm_UolgpMTo4BoAYNu74VGevfajw5N8YBQ4QRgm6lKFRQp__IsOKo5CfTIbWUE3OppDoo754t6iSBMvHBdmgS7jS1qIKW9iGhVC_2w/s829/Murder+Clinic+-+Scare3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflZQ568HhhDV4VRLmGyjKxOeg-QsBOS34PUB32dm_UolgpMTo4BoAYNu74VGevfajw5N8YBQ4QRgm6lKFRQp__IsOKo5CfTIbWUE3OppDoo754t6iSBMvHBdmgS7jS1qIKW9iGhVC_2w/s400/Murder+Clinic+-+Scare3.jpg" width="400" /></a></div> <i>Scream and Scream Again</i>
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Visually, <i>The Murder Clinic</i> is densely atmospheric throughout its entire running time, putting its locations to good use and featuring some nice cinematography with effective use of lighting and dark corridors. And let’s not forget those terrifically stylish and fetishistic images of the black-gloved killer roaming the dark corridors while clutching a straight razor. The score by Francesco De Masi is another strong asset and features a chillingly effective main theme. Here, the film shows a more modern influence as the score is far removed from the often old-fashioned compositions heard in the earlier Italian gothic horror films.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_NLDB5V72j14TOl5mBiFIhqYIYfmXkaZ893PwjpPl42TdZiPlq1bXgvLA63Ohl89yh6AZmUauDArKjKwiTFOSTg1AiJqmCF74_mYCyUy2tMs90Kd48nSORZm4NTBWaV_UFCs4HvlqIY/s830/Murder+Clinic+-+Style1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_NLDB5V72j14TOl5mBiFIhqYIYfmXkaZ893PwjpPl42TdZiPlq1bXgvLA63Ohl89yh6AZmUauDArKjKwiTFOSTg1AiJqmCF74_mYCyUy2tMs90Kd48nSORZm4NTBWaV_UFCs4HvlqIY/s400/Murder+Clinic+-+Style1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZaQ0ggPaHTF2Vehvs64gy8Nv9gU2nMNqBo8LMRxqkPx89Jmg3lzRwCnQp7Sd8pTfOyqVw143cacH12ofkdj5fa-sidPVAri3_RC5dWfIMoS6xaI315GPyvHzeYn0DC7DHxxOy3f4S0Ys/s829/Murder+Clinic+-+Killer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZaQ0ggPaHTF2Vehvs64gy8Nv9gU2nMNqBo8LMRxqkPx89Jmg3lzRwCnQp7Sd8pTfOyqVw143cacH12ofkdj5fa-sidPVAri3_RC5dWfIMoS6xaI315GPyvHzeYn0DC7DHxxOy3f4S0Ys/s400/Murder+Clinic+-+Killer.jpg" width="400" /></a></div> <i>Lots of stylish imagery on display</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkolDjTmXnfMsMlHBwykhxrSqdXqUm34zqfjS83D-vipwhe-YXuq9uvZlFDBZWbfIrWOxcwnccKwMJCp18BX2KUcyCaAVUR3Z59l1b0LIb20OpsiPSJkhCyuYu6LtIXIJgu8ruIkefL0/s831/Murder+Clinic+-+Style2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFkolDjTmXnfMsMlHBwykhxrSqdXqUm34zqfjS83D-vipwhe-YXuq9uvZlFDBZWbfIrWOxcwnccKwMJCp18BX2KUcyCaAVUR3Z59l1b0LIb20OpsiPSJkhCyuYu6LtIXIJgu8ruIkefL0/s400/Murder+Clinic+-+Style2.jpg" width="400" /></a></div> <i>I love this great shot, which foreshadows an iconic scene in Dario Argento’s </i>The Bird with the Crystal Plumage
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<i>The Murder Clinic</i> moves at a generally tight pace and is consistently atmospheric and enjoyable. Its only really serious flaw is that it occasionally focuses too much on the sentimental details of the plot – including a nauseatingly syrupy flashback montage portraying the idyllic past of the troubled Dr. Vance. Indeed, the character of Dr. Vance is not handled too well on the whole. His behavior is so overly suspicious – with him burying a corpse and making all kinds of strange excuses, working on strange experiments, and hiding the woman whose disfigurement he may have had a hand in. His suspicious behavior is taken to such extremes that it will be apparent to just about anyone that he isn’t the actual culprit. In fact, Dr. Vance is so much of a red herring that he never really develops as a real character, and that’s a shame considering that he is played by the always reliable William Berger. But even in spite of the problems connected to his character, Berger manages to deliver a good performance and he lends a sense of authority to the proceedings.
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But the most memorable performance by far is given by the excellent French actress Françoise Prevost, who is absolutely terrific as the opportunistic and delightfully bitchy Gisèle. While not a radiant beauty, Prevost possesses a very captivating energy and sexiness that immediately draws you in. She looks as if she really enjoyed herself here, and that’s no wonder when you consider how meaty the role is. Her most priceless moment is a scene where she mercilessly blackmails a greatly annoyed Berger and then two seconds later she starts to press herself up against him while she seductively purrs that it “must be very exciting to make love with a murderer”.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPF49rzkS85QYQV3mWW7rvkulwDgqbp-bNKraul5kdg2shit9K0XY3w4VDes16hmHjwlQvIpQyZGC4qcQfmLEefLz5hFvKKRksYGaah4ELC7IQ-fQOChOIySLh11d2Nk91fXIZicgRI6o/s830/Murder+Clinic+-+Prevost1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPF49rzkS85QYQV3mWW7rvkulwDgqbp-bNKraul5kdg2shit9K0XY3w4VDes16hmHjwlQvIpQyZGC4qcQfmLEefLz5hFvKKRksYGaah4ELC7IQ-fQOChOIySLh11d2Nk91fXIZicgRI6o/s400/Murder+Clinic+-+Prevost1.jpg" width="400" /></a></div> <i>Absolutely love this shot of Françoise Prevost. There’s something incredibly sexy about it</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQtOJVlWbMspdZmLf_T4a5wrK5h5qh7WHfI1Z8fC8XgfVU_rD3x4CPHgZerSAVrK3MqWRUu0fs40k7RI1Kbl-g5Iaw7DPF4d2wPE_Hhdv3KAqEUxHUiROqEAOB4ngZ0ykrtf9sHCzDgk/s830/Murder+Clinic+-+Prevost2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQtOJVlWbMspdZmLf_T4a5wrK5h5qh7WHfI1Z8fC8XgfVU_rD3x4CPHgZerSAVrK3MqWRUu0fs40k7RI1Kbl-g5Iaw7DPF4d2wPE_Hhdv3KAqEUxHUiROqEAOB4ngZ0ykrtf9sHCzDgk/s400/Murder+Clinic+-+Prevost2.jpg" width="400" /></a></div> <i>Françoise blackmails and flirts at the same time in one of the film’s most delicious moments</i>
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Harriet White – Italian horror cinema’s sinister housekeeper par excellence – is slightly underused in the role Dr. Vance’s stern assistant. She could have been given more to do but it’s a nice role and she positively shines whenever she’s on screen. Her hostile exchanges with the bitchy Prevost are particularly delightful. Less fortunate is Massimo Righi, who portrays the madness of his schizophrenic character with such gross exaggeration that he comes across as somewhat awkward.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lGTm7dCWw094EkZvi1PErXqb7T6yQHLiyVuP36sOWfqk8RUXLdUNsvoLHv6NxjiqD0OKAm61XnNOmskx-H1og6KDLroMkxKoHDVPGa8MumpRdk8mBIEZdT4qdhl3Lze-kNUMB9ZGd5A/s828/Murder+Clinic+-+White.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lGTm7dCWw094EkZvi1PErXqb7T6yQHLiyVuP36sOWfqk8RUXLdUNsvoLHv6NxjiqD0OKAm61XnNOmskx-H1og6KDLroMkxKoHDVPGa8MumpRdk8mBIEZdT4qdhl3Lze-kNUMB9ZGd5A/s400/Murder+Clinic+-+White.jpg" width="400" /></a></div> <i>Harriet White and Françoise Prevost have a go at each other</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiott625debKBwsDp-b9gM8Z6lagQylW0HHqFg5dTgjXRLx2d6BK-16ur2CbfJnNllKbzH9qdfL0FGfgyBwJH5i-ThVccTL1ygVvWRcHzAPqkKN7xcGmAIlor3KfnMNc7Ux3qq9VR5XViE/s831/Murder+Clinic+-+Righi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiott625debKBwsDp-b9gM8Z6lagQylW0HHqFg5dTgjXRLx2d6BK-16ur2CbfJnNllKbzH9qdfL0FGfgyBwJH5i-ThVccTL1ygVvWRcHzAPqkKN7xcGmAIlor3KfnMNc7Ux3qq9VR5XViE/s400/Murder+Clinic+-+Righi.jpg" width="400" /></a></div> <i>Massimo Righi takes it a bit too far</i>
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The film’s English language version prepared by Lewis E. Ciannelli is generally quite good and benefits greatly from the fact that William Berger and Harriet White both dub themselves. The dubbing of the remaining cast is good, with top honors going to Carolynn De Fonseca, whose breathy, feminine voice is an absolute perfect match for Françoise Prevost in the role of the seductive and wicked Gisèle. One curious detail worth noting, however, is the fact that Gisèle’s male travelling companion is portrayed merely as her escort in the English version, whereas in the German and French language versions, the dialogue identifies him as Gisèle’s husband. Since I haven’t seen the film in Italian, I cannot comment on how the character is presented in the Italian dub but I find this to be a rather interesting little detail nonetheless.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eukw-s93rsVWX-V-UvPwTpI3eyJtsii-rZM1KTYSGK91Ju1ip6iCTpo2hXNo2yNiR-Il5HkYaodEtA2ENtGTdQ7kEfy0XP43yk2Y9p7om8P5FlxwlWQRnkZteMfU0RfnAQf2uippURc/s829/Murder+Clinic+-+Coach+Ride.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3eukw-s93rsVWX-V-UvPwTpI3eyJtsii-rZM1KTYSGK91Ju1ip6iCTpo2hXNo2yNiR-Il5HkYaodEtA2ENtGTdQ7kEfy0XP43yk2Y9p7om8P5FlxwlWQRnkZteMfU0RfnAQf2uippURc/s400/Murder+Clinic+-+Coach+Ride.jpg" width="400" /></a></div> <i>The small role of Gisèle’s travelling companion (played by French actor Philippe Hersent) takes on a different role depending on which language version you are watching</i>
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<i>The Murder Clinic</i> may not be perfect but it’s a very interesting hybrid of gothic horror and giallo that benefits from a wonderful atmosphere, strong visuals and some terrific performances by Françoise Prevost and Harriet White. Well worth a look.
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And here to round off the review are a some more rare promotional pieces from my collection:
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhgS1ikZ1hIjH1FMoii59-vrBZimI5WCLanxyrc-EzKFP0eMBpRsth8QCyCMVD_riDjBF9f-ZJTzXy4dZOMkYWlH1AIts5A8P-0G7cz8IW0HZtGs_lbXohE9UCmJBxwqlZ1CdsfY92SU/s701/Murder+Clinic+Newspaper+Ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhgS1ikZ1hIjH1FMoii59-vrBZimI5WCLanxyrc-EzKFP0eMBpRsth8QCyCMVD_riDjBF9f-ZJTzXy4dZOMkYWlH1AIts5A8P-0G7cz8IW0HZtGs_lbXohE9UCmJBxwqlZ1CdsfY92SU/s400/Murder+Clinic+Newspaper+Ad.jpg" width="400" /></a></div> <i>Cool Italian newspaper advertisement</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOZqFRFomLVst_ys0kDMZICCehCQr8NSYeZjlVIvi060q2VZ_yftySZqaHI2MhAV1Slj86tvNPiep1mDzfmu38OYVSSdbepaFBs7qpRz9LkgpDfcfHWE7YLUgNfZ8wlRkLmH-J-OXPfE/s1027/Murder+Clinic+French+Artwork2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOZqFRFomLVst_ys0kDMZICCehCQr8NSYeZjlVIvi060q2VZ_yftySZqaHI2MhAV1Slj86tvNPiep1mDzfmu38OYVSSdbepaFBs7qpRz9LkgpDfcfHWE7YLUgNfZ8wlRkLmH-J-OXPfE/s400/Murder+Clinic+French+Artwork2.jpg" width="324" /></a></div> <i>Gorgeous artwork from a rare French publicity brouchure I snagged on eBay some years back</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvNJQQmdXQPbNmfRwYROBcQpL3Mfabhtcd22mlwuZq5VwBOB0BzIs0ADYb5yRPZTbaFK_9p5uIM4x14wnALAA8WVbJNN8ExQNvKEOD5c2_PmaCspZ4l9fKexvcNr2zBrudtxJXPGU77Go/s647/Murder+Clinic+French+Artwork3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvNJQQmdXQPbNmfRwYROBcQpL3Mfabhtcd22mlwuZq5VwBOB0BzIs0ADYb5yRPZTbaFK_9p5uIM4x14wnALAA8WVbJNN8ExQNvKEOD5c2_PmaCspZ4l9fKexvcNr2zBrudtxJXPGU77Go/s400/Murder+Clinic+French+Artwork3.jpg" width="262" /></a></div> <i>More French artwork</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JZ3nGje8A0UtnHbS3lk-45w_o_wSCXjpX8k3EpHqi9zgrXLjUINxY8CBcc1mlc9gCQN4AurpjCG5qaxuw-4T5wB76TCu23anaDfGmOrwzEvxY8UIGXUNXQr7E3GdUYQa7_o3Oay95UQ/s1321/Murder+Clinic+Film+Program1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JZ3nGje8A0UtnHbS3lk-45w_o_wSCXjpX8k3EpHqi9zgrXLjUINxY8CBcc1mlc9gCQN4AurpjCG5qaxuw-4T5wB76TCu23anaDfGmOrwzEvxY8UIGXUNXQr7E3GdUYQa7_o3Oay95UQ/s400/Murder+Clinic+Film+Program1.jpg" width="269" /></a></div> <i>Nice-looking German movie program containing a detailed plot summary of the film</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU19fbTWfFJ4DyEsM9WpndqL02Ak2ZP32e7YKISfEzNkuZxlMf1LBg97Bp_te8qpslsRK0NrOvE4zjaEc7S4dSfIfWg1L53VUFPrwwFbSWpAgpH3qVlE1-A-yufS8Zc0uWCWSlfAUWClM/s1325/Murder+Clinic+Film+Program2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU19fbTWfFJ4DyEsM9WpndqL02Ak2ZP32e7YKISfEzNkuZxlMf1LBg97Bp_te8qpslsRK0NrOvE4zjaEc7S4dSfIfWg1L53VUFPrwwFbSWpAgpH3qVlE1-A-yufS8Zc0uWCWSlfAUWClM/s400/Murder+Clinic+Film+Program2.jpg" width="269" /></a></div> <i>The backside of the German film program</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTIXXvyIeuxtbjJNWtdV50v-QBY3KJdvRTPhtLFxgXj75kcjPms3TZXShbATzSChpMmyVoopI73y9kwbHEZUfENTdegomAwFXcxXzNFL50lL2mSylSFaxBoVulM0n5BtG8D-T7xuiIhns/s963/Murder+Clinic+Black&White+Still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTIXXvyIeuxtbjJNWtdV50v-QBY3KJdvRTPhtLFxgXj75kcjPms3TZXShbATzSChpMmyVoopI73y9kwbHEZUfENTdegomAwFXcxXzNFL50lL2mSylSFaxBoVulM0n5BtG8D-T7xuiIhns/s400/Murder+Clinic+Black&White+Still.jpg" width="400" /></a></div> <i>Lovely black & white still from the French publicity brochure, featuring a scene with the beautiful Barbara Wilson (surely a pseudonym, but for whom?) and with Harriet White, William Berger and Germano Longo in the background</i>
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© 2013 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-03Gw31rGPJxQiNhLweHYsE1Y-Hpw3kZV7BW8H8OyCwyDwsKa7XUrTr_rGtfHHhJvsZ95mBLVBiw4S2iv6NDsnhZH8q2-LWmHdgNfVFhUvwIW1RlvOaOndcHiBPw_7UB2Db2ushNZRSU/s827/Murder+Clinic+-+William+Berger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-03Gw31rGPJxQiNhLweHYsE1Y-Hpw3kZV7BW8H8OyCwyDwsKa7XUrTr_rGtfHHhJvsZ95mBLVBiw4S2iv6NDsnhZH8q2-LWmHdgNfVFhUvwIW1RlvOaOndcHiBPw_7UB2Db2ushNZRSU/s400/Murder+Clinic+-+William+Berger.jpg" width="400" /></a></div> <i>William Berger as Dr. Robert Vance</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGwqPId5ixKLE8lg2thQ8wM0LO5LnuNFyu6zqFDChXf5eQ_sRUdaJaXtGdckS8Iz8S8qF1WZllG9Hf3HKx9HonLzdhsk1LU02te1BMGBF7zwNjdeF4yqIgUvr-WmtL5O6yvY6z1-IUz0/s828/Murder+Clinic+-+Francoise+Prevost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGwqPId5ixKLE8lg2thQ8wM0LO5LnuNFyu6zqFDChXf5eQ_sRUdaJaXtGdckS8Iz8S8qF1WZllG9Hf3HKx9HonLzdhsk1LU02te1BMGBF7zwNjdeF4yqIgUvr-WmtL5O6yvY6z1-IUz0/s400/Murder+Clinic+-+Francoise+Prevost.jpg" width="400" /></a></div> <i>Françoise Prevost as Gisèle de Brantôme</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-SYWohZN5VVoyJbkihzgKOyT3MvTYuvKFMSfIIWijsquwQ6EvZMVuAZ4mlNfpz1Gy-MWhe_g0gT0WMemmfOmlIb1igk0bWj4B5pH9MhVIyN916JsrpseKZwwLjr-BVPHjGO4fy-mIaQ/s831/Murder+Clinic+-+Barbara+Wilson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-SYWohZN5VVoyJbkihzgKOyT3MvTYuvKFMSfIIWijsquwQ6EvZMVuAZ4mlNfpz1Gy-MWhe_g0gT0WMemmfOmlIb1igk0bWj4B5pH9MhVIyN916JsrpseKZwwLjr-BVPHjGO4fy-mIaQ/s400/Murder+Clinic+-+Barbara+Wilson.jpg" width="400" /></a></div> <i>Barbara Wilson as Mary</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHuAtoqBIrq5P7559clAjvCAP8oJ9HXfQH33yOeIPEAV4BA66ZYIey9ZqFVz1g1_CTw9wqiRXDkn6NrlcHHjEkEl_zRowyWe85ul-NJECLUXesDF8FlkgHXZYzpw0R9ORM7gUxJNy-7Q/s821/Murder+Clinic+-+Mary+Young.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHuAtoqBIrq5P7559clAjvCAP8oJ9HXfQH33yOeIPEAV4BA66ZYIey9ZqFVz1g1_CTw9wqiRXDkn6NrlcHHjEkEl_zRowyWe85ul-NJECLUXesDF8FlkgHXZYzpw0R9ORM7gUxJNy-7Q/s400/Murder+Clinic+-+Mary+Young.jpg" width="400" /></a></div> <i>Mary Young as Lizabeth Vance</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Hvrh1IH-PP3exEfbiWQESrD2lkzNfqrlEDiAeKAc1g5wqAJhhM19I43KnxmzB0cpJzPyfz2lG-hvGvlRdvoCuvJYhhym-Cdcn8EtwWm9Pg1JwBzKfsFSGMGrUWFuWFjfekV5zKbAWis/s830/Murder+Clinic+-+Harriet+White.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Hvrh1IH-PP3exEfbiWQESrD2lkzNfqrlEDiAeKAc1g5wqAJhhM19I43KnxmzB0cpJzPyfz2lG-hvGvlRdvoCuvJYhhym-Cdcn8EtwWm9Pg1JwBzKfsFSGMGrUWFuWFjfekV5zKbAWis/s400/Murder+Clinic+-+Harriet+White.jpg" width="400" /></a></div> <i>Harriet White as Sheena</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-srF211t2d33CTMQTESTUmCpQfg_fVowz0mQ64zsqyLXiRSkd9MZm8Abc8FHTApj8VNdGxbFWUIYcFHuYM08ux5NsV_60s2lLmnCnY0J795wuDSxdZd9kaQITDZ-XWnd-4f8u8ZybMGE/s829/Murder+Clinic+-+Germano+Longo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-srF211t2d33CTMQTESTUmCpQfg_fVowz0mQ64zsqyLXiRSkd9MZm8Abc8FHTApj8VNdGxbFWUIYcFHuYM08ux5NsV_60s2lLmnCnY0J795wuDSxdZd9kaQITDZ-XWnd-4f8u8ZybMGE/s400/Murder+Clinic+-+Germano+Longo.jpg" width="400" /></a></div> <i>Germano Longo as Ivan</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnsMJUH8fSLDlgeRjiNBNNKipINu8Rq9Am5bNnk9g5U9ecPPS4JdIpKf86zcd7DBTnMsXJT46lSqMZf__VKM0UafvhYt_mCUiGOOVST8Cvm6oaLxlPfs7E-ArX2XQJLBHbGu_GtJWqi1U/s828/Murder+Clinic+-+Massimo+Righi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnsMJUH8fSLDlgeRjiNBNNKipINu8Rq9Am5bNnk9g5U9ecPPS4JdIpKf86zcd7DBTnMsXJT46lSqMZf__VKM0UafvhYt_mCUiGOOVST8Cvm6oaLxlPfs7E-ArX2XQJLBHbGu_GtJWqi1U/s400/Murder+Clinic+-+Massimo+Righi.jpg" width="400" /></a></div> <i>Massimo Righi as Fred</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlRQSkcTIg8jNO6sPSirKVeBDqzWUZE5Ip64yAgUJv9KZVdZfMq_3N1tYQkPg09CL2mse1lEamUxfEy76GnxSM5QF1WzO2LvMDwh0b1cez-UjWZQzmtQTbev1TqWB5Mzi5eAHYoJ7HKTo/s828/Murder+Clinic+-+Delfi+Mauro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlRQSkcTIg8jNO6sPSirKVeBDqzWUZE5Ip64yAgUJv9KZVdZfMq_3N1tYQkPg09CL2mse1lEamUxfEy76GnxSM5QF1WzO2LvMDwh0b1cez-UjWZQzmtQTbev1TqWB5Mzi5eAHYoJ7HKTo/s400/Murder+Clinic+-+Delfi+Mauro.jpg" width="400" /></a></div> <i>Delfi Mauro as Laura</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnn0DdgIG7l8Szgp7ow7fa-W5a-TIlja1qbefP_1P35_A3OvpPVBp6a1XJQ6-cc7wHVnia7ENPumCFcTPFiWpkfD3ytnZOHbxgAX-SPb-Gz1qXNdDnifH_k5UnJ1J9HKziknOBl1Wi2I/s827/Murder+Clinic+-+Anna+Maria+Polani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnn0DdgIG7l8Szgp7ow7fa-W5a-TIlja1qbefP_1P35_A3OvpPVBp6a1XJQ6-cc7wHVnia7ENPumCFcTPFiWpkfD3ytnZOHbxgAX-SPb-Gz1qXNdDnifH_k5UnJ1J9HKziknOBl1Wi2I/s400/Murder+Clinic+-+Anna+Maria+Polani.jpg" width="400" /></a></div> <i>Anna Maria Polani as Janey</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5_PaaiA6BMgwFGn3I8XDp-7pHJ_czfkKjKsXSD_2Ht_CtuBnwSdcctdwGwusv1vSJL5PA3KvT-F3MfqmOQX3678GZ-kmMmSAAeb11C38qQDEYQNGQUeDuzlMYkrPLH-Ea5QjaC_nBYQY/s831/Murder+Clinic+-+Philippe+Hersent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5_PaaiA6BMgwFGn3I8XDp-7pHJ_czfkKjKsXSD_2Ht_CtuBnwSdcctdwGwusv1vSJL5PA3KvT-F3MfqmOQX3678GZ-kmMmSAAeb11C38qQDEYQNGQUeDuzlMYkrPLH-Ea5QjaC_nBYQY/s400/Murder+Clinic+-+Philippe+Hersent.jpg" width="400" /></a></div> <i>Philippe Hersent as Gisèle’s escort [husband in some versions]</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZRc3z6uEv4eTF0_gAREVSqB6iKskhm-Pl1dwtfudeKBBRwAP79wPzbnHNXNrwq2i7DHRMt8RwXnWsDvD3YqGi6bEpCHWS14vd47G0ZmWDJg_QAGbNSmB2PCOzZ_B3F_1BwmCH-DOXwY/s828/Murder+Clinic+-+Rossella+Bergamonti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZRc3z6uEv4eTF0_gAREVSqB6iKskhm-Pl1dwtfudeKBBRwAP79wPzbnHNXNrwq2i7DHRMt8RwXnWsDvD3YqGi6bEpCHWS14vd47G0ZmWDJg_QAGbNSmB2PCOzZ_B3F_1BwmCH-DOXwY/s400/Murder+Clinic+-+Rossella+Bergamonti.jpg" width="400" /></a></div> <i>Rossella Bergamonti as Kitty</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitnOEAxX22l4EBsFWuyckya54oXHRqZG-AgIqNUnqHMlO8vp7F-G4eJiD4g8-tOgBefayecSKUVg9K_jZAC8VRYRJMwH5dCK9v1jyZ2nxRTm2oBKQ7i7hSHfPT2il5g5ucZb7i_IRVrYg/s829/Murder+Clinic+-+Rock+Scandurra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitnOEAxX22l4EBsFWuyckya54oXHRqZG-AgIqNUnqHMlO8vp7F-G4eJiD4g8-tOgBefayecSKUVg9K_jZAC8VRYRJMwH5dCK9v1jyZ2nxRTm2oBKQ7i7hSHfPT2il5g5ucZb7i_IRVrYg/s400/Murder+Clinic+-+Rock+Scandurra.jpg" width="400" /></a></div> <i>Rock Scandurra as Walter</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_tYnkqGjuYOT-A-Es3mgKo2fDTVKhzybjR1ZohxqgwZI6x-tWA9J7z2eOoVGIKjHukDzXOvBWU3QJA14ObaMG4vNQrnSPdjz6ohY4u3gX1fDPTZWZbPsdLKF889xU-01RNzJKy95HBmc/s828/Murder+Clinic+-+Mrs+Hurley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_tYnkqGjuYOT-A-Es3mgKo2fDTVKhzybjR1ZohxqgwZI6x-tWA9J7z2eOoVGIKjHukDzXOvBWU3QJA14ObaMG4vNQrnSPdjz6ohY4u3gX1fDPTZWZbPsdLKF889xU-01RNzJKy95HBmc/s400/Murder+Clinic+-+Mrs+Hurley.jpg" width="400" /></a></div> <i>??? as Mrs. Hurley</i>
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Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com4tag:blogger.com,1999:blog-3249679003059730182.post-69697246151371570902013-06-29T00:57:00.000-07:002013-06-29T02:23:01.963-07:00Espionage in Tangiers/Marc Mato, agente S077<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjacZwilAppGj6LCjYQNSHlPjgcYDU9NmHSFkx6IsbbUaDjqeT9nNfP-qBtyVCMnNZRvyhIK65yOomOE6PFPfm9OyfKgRlcgaedbYWJaJWD-PN9VBo8Lapjf_mh2UgNvgY1slQSJxDhnXM/s708/Espionage+In+Tangiers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjacZwilAppGj6LCjYQNSHlPjgcYDU9NmHSFkx6IsbbUaDjqeT9nNfP-qBtyVCMnNZRvyhIK65yOomOE6PFPfm9OyfKgRlcgaedbYWJaJWD-PN9VBo8Lapjf_mh2UgNvgY1slQSJxDhnXM/s400/Espionage+In+Tangiers.jpg" width="400" /></a></div>
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<b>Spain/Italy, 1965
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Directed by Greg Tallas
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Cast:
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Luis Davila, José Greci, Alberto Dalbes, Perla Cristal, Tomas Blanco, Ana Castor, Alfonso Rojas, Rafael Vaquero, Barta Barry, Joe Kamel, Juan Cortes, Fernando Villena, Alberto Cevenini, Angel Menendez, Pedro Fenollar</b>
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It’s always a delight to see more and more Euro crime, gialli, Euro horror and spaghetti westerns showing up on DVD and even Blu-ray but not all types of films are as well-represented on the shiny format, and this is especially true of the European James Bond knock-offs of the 1960s – commonly referred to as Eurospy movies. I’ve recently become more and more fascinated by these films and will be taking a closer look at several cool Eurospy flicks – starting with <i>Espionage in Tangiers</i>.
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It all begins in a fancy research facility, where brilliant scientist Professor Greff (Tomas Blanco) and his two assistants have finally succeeded in building a revolutionary disintegrator ray gun. Eager to confirm that it actually works the way it’s supposed to, the professor opens a window, points the ray gun and fires a blue beam of energy at a car parked outside and completely disintegrates it. It really would have been much nicer of him to try it out on some object in his lab instead of destroying some unfortunate person’s car but I guess it just looks cooler to disintegrate something big.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbcHU38v7pw9pDM3_xH9moMcASLKBasgPYfrbSR4lmGENZRYWeGbbFq_7uq_8jnCgUxTpjlBxTAbj1iHU_ARavdJsF9yK0DKH6HzWsasKg2Y3zotC6Mtq59CV-FO90I9PzaXHKnzKilT8/s709/Tangiers+-+Ray+Gun1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbcHU38v7pw9pDM3_xH9moMcASLKBasgPYfrbSR4lmGENZRYWeGbbFq_7uq_8jnCgUxTpjlBxTAbj1iHU_ARavdJsF9yK0DKH6HzWsasKg2Y3zotC6Mtq59CV-FO90I9PzaXHKnzKilT8/s400/Tangiers+-+Ray+Gun1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhioNj_v1RK3hfGHdX6UheKkswNPJpBMJbD7XRbCN3iaeWGVCEyLgccOQRzpz9mh7hfGZU1ZMkTPimCFHMEqnEZoDI3zeLw3e9ZwMx07WZ_yKWv-LpwWZptMRFJlVuRTSquaUZmkqxG_4w/s708/Tangiers+-+Ray+Gun2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhioNj_v1RK3hfGHdX6UheKkswNPJpBMJbD7XRbCN3iaeWGVCEyLgccOQRzpz9mh7hfGZU1ZMkTPimCFHMEqnEZoDI3zeLw3e9ZwMx07WZ_yKWv-LpwWZptMRFJlVuRTSquaUZmkqxG_4w/s400/Tangiers+-+Ray+Gun2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCtAYIHX-IMPk56t9lWfcvlchtyE0St11woXkhJaav99RSyZA9QdTw8FzzZ0Nr_76LxQY6Zqvp-yLcKR9QvivFwiKGIGcd-9W_nqmpgyMF1orJ6s4wo7W2kvRjb2PlLG-CK-b3sQkqdM/s705/Tangiers+-+Ray+Gun3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCtAYIHX-IMPk56t9lWfcvlchtyE0St11woXkhJaav99RSyZA9QdTw8FzzZ0Nr_76LxQY6Zqvp-yLcKR9QvivFwiKGIGcd-9W_nqmpgyMF1orJ6s4wo7W2kvRjb2PlLG-CK-b3sQkqdM/s400/Tangiers+-+Ray+Gun3.jpg" width="400" /></a></div>
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<i>Professor Greff and his colleagues are all cheery as they successfully disintegrate a car.</i>
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It turns out that Professor Greff’s plan is for the UN to use the disintegration gun to create world piece, although exactly <i>how</i> he intends for this deadly weapon to bring peace to the world is never elaborated on. But while the ecstatic professor retreats to his office to call the UN and inform them of his great success, one of his shifty-eyed assistants (Angel Menendez) goes to the bathroom, where he opens a window and flicks the lights three times to give a signal to someone on the outside. Not long after, a rope drops from the floor of the building and two men dressed in black climb down and enter through the window.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkpuwC_7_TrczQu7Qci1jwzg2rh_K_whV3dl599bb-hF2HyNm4MlG4dZo44YGtJgHUI_bu8EMu-VUJgcnWT7SG7w8JjPeESHkXSpmBRTIOgWpId5gzm0UZ3rBcx44K5GaWIQO5-5kjh8/s708/Tangiers+-+Break-In.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkpuwC_7_TrczQu7Qci1jwzg2rh_K_whV3dl599bb-hF2HyNm4MlG4dZo44YGtJgHUI_bu8EMu-VUJgcnWT7SG7w8JjPeESHkXSpmBRTIOgWpId5gzm0UZ3rBcx44K5GaWIQO5-5kjh8/s400/Tangiers+-+Break-In.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTt4ShwbJutp-DTh8gnxaSAtKCtLPkUW7GDLeTnf12_1PW01KRdsxpWs5_SaW-Gjwl9_-TTy85mJlJ-nN9o_Df8uWPKhZAEVdaXLMCQAfn4OI7NuF5Aw7CmY6T7f3n3IhzjN9VVKvVFXw/s708/Tangiers+-+Break-In2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTt4ShwbJutp-DTh8gnxaSAtKCtLPkUW7GDLeTnf12_1PW01KRdsxpWs5_SaW-Gjwl9_-TTy85mJlJ-nN9o_Df8uWPKhZAEVdaXLMCQAfn4OI7NuF5Aw7CmY6T7f3n3IhzjN9VVKvVFXw/s400/Tangiers+-+Break-In2.jpg" width="400" /></a></div> <i>The two deadly thieves make their way into the lab</i>
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Acting quickly, the men stab Professor Greff’s assistants to death (including the accomplice who opened the window for them) and grab hold of a small metallic plate that is a key component to the deadly disintegration gun. Then, suddenly, one of the men (Alberto Cevenini) guns down his own partner and takes off with the metal plate.
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The efficient thief hurries down the street and delivers the plate to a mysterious man waiting inside a car. But as soon as he’s received the precious object, the mystery man quickly winds up the car window – trapping the poor thief’s head and crushing his throat till he’s dead. Wow! We’re still only in the pre-credits sequence and already most of the characters we’ve been introduced to have killed each other off. Now, that’s what I call a strong opening!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH59xTpVZWTc3yFOj2RHXjRHRTYGfnsh-XUNJ8Qz6RWFpPnpGlicgdu8qnEsqNtdf90yGLo_lSz5oixGTrTFYR62kji_Fj4SBmwW6O_qau9pUA7Qd-irhpgy9-YuuLGuhcAtvMH_2WJ6U/s709/Tangiers+-+Car+Window1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH59xTpVZWTc3yFOj2RHXjRHRTYGfnsh-XUNJ8Qz6RWFpPnpGlicgdu8qnEsqNtdf90yGLo_lSz5oixGTrTFYR62kji_Fj4SBmwW6O_qau9pUA7Qd-irhpgy9-YuuLGuhcAtvMH_2WJ6U/s400/Tangiers+-+Car+Window1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePoe4V0bMqrFDEKxKcWxe-UEAhhpCy2g4EeRBo3bG2NCVHFTibeWhaE_bxY-w_Yvi5XwJa11kUTYYjqIQrC1ZeHGqQPE9Xc0sK_bryV_SnNFt84rXz0-pkIL_-Awx82vbmP0NfJdP56A/s709/Tangiers+-+Car+Window2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePoe4V0bMqrFDEKxKcWxe-UEAhhpCy2g4EeRBo3bG2NCVHFTibeWhaE_bxY-w_Yvi5XwJa11kUTYYjqIQrC1ZeHGqQPE9Xc0sK_bryV_SnNFt84rXz0-pkIL_-Awx82vbmP0NfJdP56A/s400/Tangiers+-+Car+Window2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqjzehZswsLCatwJtyuMOwsSTREO-znCE9Xe4SojCwAOahy3uR8OUFZHwdjKT1xDbKVTSDBlwZNMxmX-03nGdBAZSNMWH3KlPte-62RSS4UL-LfQcQjjHpnEKke-TUtmvIk2jueDWsVo/s709/Tangiers+-+Car+Window3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqjzehZswsLCatwJtyuMOwsSTREO-znCE9Xe4SojCwAOahy3uR8OUFZHwdjKT1xDbKVTSDBlwZNMxmX-03nGdBAZSNMWH3KlPte-62RSS4UL-LfQcQjjHpnEKke-TUtmvIk2jueDWsVo/s400/Tangiers+-+Car+Window3.jpg" width="400" /></a></div> <i>These guys don’t believe in loose ends</i>
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Next we meet our hero, secret agent Mike Murphy (Luis Davila) who is called in to retrieve the stolen metal plate. Time is of the essence as the disintegration weapon will be catastrophic in the hands of the wrong people. Unfortunately, there aren’t many leads to go on as the two dead thieves have proven impossible to identify. However, an agent in Tangiers named Hassan Rabah has apparently recognized one of the dead men from a photo, and so Mike is sent on the first plane to Tangiers to make contact with Rabah.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ_PGyalAXL3gbj26MCOpFVujGaf6UlF9IYJqG4Wlq9o82ceE4lO1hQawmEFqqZ8FOXxdpBPv6LAGO12ToMGXNHbHUHF_9PnW1VIqd_SlAf9UEuzBMHgjtQe3xKssKZXC4Mzq6XzmByh4/s708/Tangiers+-+Mike2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ_PGyalAXL3gbj26MCOpFVujGaf6UlF9IYJqG4Wlq9o82ceE4lO1hQawmEFqqZ8FOXxdpBPv6LAGO12ToMGXNHbHUHF_9PnW1VIqd_SlAf9UEuzBMHgjtQe3xKssKZXC4Mzq6XzmByh4/s400/Tangiers+-+Mike2.jpg" width="400" /></a></div> <i>Our man Mike</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rhPOkRP1chkA6GirCGnwiRKiTMUCYFroSkTcdKeX8S7msQxB3MAt4Krm8vqgHLLbGaqZoCbuOmlmRZ-7U1NGnbY_D3E58j97o6TnvKCa4-u1Av8zgc3OduN-XmJnpM9e6hvhLWhlz2k/s708/Tangiers+-+Mike.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rhPOkRP1chkA6GirCGnwiRKiTMUCYFroSkTcdKeX8S7msQxB3MAt4Krm8vqgHLLbGaqZoCbuOmlmRZ-7U1NGnbY_D3E58j97o6TnvKCa4-u1Av8zgc3OduN-XmJnpM9e6hvhLWhlz2k/s400/Tangiers+-+Mike.jpg" width="400" /></a></div> <i>The first we see of Mike. A classic secret agent introduction if there ever was one!</i>
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On the plane to Tangiers, Mike indulges in some requisite suave secret agent behavior by coming on to some poor stewardess who does the mistake of asking him if there’s anything he’d like. Surely, there’s no better way for a cocky secret agent to enjoy himself than with a bit of sexual harassment of a working woman? Anyway, Mike’s exchange with the stewardess catches the ear of fellow passenger Lee Randall (José Greci), a stunning young woman who also happens to be an agent and who has previously worked with Mike on another mission. Lee and Mike have fun catching up and agree to meet up later too.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHU_Ea-xX0hJxOp6W3mN1JYKdy-BfL5jt8torwJwabK9PgTLjp6v1xoXeuaG1UOqMhcAiZi1EmoURZtmR_-LYnwKdXehnQEsGRXDMs3E_PmuxJeXHnSWTyQpQ-xDi4TN6Yc8obRgr8_jQ/s708/Tangiers+-+Lee+Mike1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHU_Ea-xX0hJxOp6W3mN1JYKdy-BfL5jt8torwJwabK9PgTLjp6v1xoXeuaG1UOqMhcAiZi1EmoURZtmR_-LYnwKdXehnQEsGRXDMs3E_PmuxJeXHnSWTyQpQ-xDi4TN6Yc8obRgr8_jQ/s400/Tangiers+-+Lee+Mike1.jpg" width="400" /></a></div> <i>Mike and Lee enjoy each others company on the flight...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1GtcoVdlTY90bqzRC8OsacgzaBnVYbyAtg6ea7l4X7d4qfhGO6dx_jFPT2qLhKfsJf8tqBhblIp1YuBoKXMT8IwBEUxgFWIlz__1SmnDkH5UvT-F3PD8oNtGhtZ5ti0YfJUnOoZdjZiY/s710/Tangiers+-+Lee+Mike2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1GtcoVdlTY90bqzRC8OsacgzaBnVYbyAtg6ea7l4X7d4qfhGO6dx_jFPT2qLhKfsJf8tqBhblIp1YuBoKXMT8IwBEUxgFWIlz__1SmnDkH5UvT-F3PD8oNtGhtZ5ti0YfJUnOoZdjZiY/s400/Tangiers+-+Lee+Mike2.jpg" width="400" /></a></div> <i>...and they’ll soon get to see more of one another</i>
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But no sooner has Mike arrived in Tangiers than a sniper tries to take him out, and it is thanks only to a great stroke of luck that Mike survives the attempt on his life. He makes his way to his hotel to meet up with Hassan Rabah but finds that he has been murdered. Fortunately, a contact of Rabah’s phones and Mike schedules an appointment with him but this poor fellow also dies before he can reveal much – getting a knife thrown in his back, while Mike barely dodges another one meant for him. Indeed, everywhere Mike goes, deadly assassins follow and try to prevent him from getting too close to the people in possession of the metal plate.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsnjpULLWtFR2bbkmV9I_T0I684sADRw1FNLvZIgbPpic-zB30FRfQrbM-lO_BIjx_qoJ1blupGtEm03c5Rt4z6G96B1zC3uXPWMWLaYI8N-nII4ytEMlJsRyE3y6mAXAijnn-8ySXMM/s708/Tangiers+-+Dead+Contact.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsnjpULLWtFR2bbkmV9I_T0I684sADRw1FNLvZIgbPpic-zB30FRfQrbM-lO_BIjx_qoJ1blupGtEm03c5Rt4z6G96B1zC3uXPWMWLaYI8N-nII4ytEMlJsRyE3y6mAXAijnn-8ySXMM/s400/Tangiers+-+Dead+Contact.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxuRUvZ9vH3kSlMe6y35VwQxzr5KI_RIkRivPWhsWxCoFIWRJzEJjQppWAbH5POaPOPegKSMSQ9fSilldBipEDHx84KUj_l3vVDCjJdRimNgEqbgEU3Ebf2gm9y2FuoqzUjrIB5jA60sQ/s709/Tangiers+-+Assassination2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxuRUvZ9vH3kSlMe6y35VwQxzr5KI_RIkRivPWhsWxCoFIWRJzEJjQppWAbH5POaPOPegKSMSQ9fSilldBipEDHx84KUj_l3vVDCjJdRimNgEqbgEU3Ebf2gm9y2FuoqzUjrIB5jA60sQ/s400/Tangiers+-+Assassination2.jpg" width="400" /></a></div> <i>No matter where Mike goes, death follows</i>
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It soon turns out that the sexy Lee and her travelling companion and lesbian lover Arlette (Ana Castor) are up to no good. They are actually working for deadly mastermind Rigo Orie (Alberto Dalbes), who is in possession of the metal plate and plans on selling it to the highest bidder. Will Mike be able to stop him?
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Although a co-production between Spain and Italy, and with a Greek director at the helm, <i>Espionage in Tangiers</i> is a predominantly Spanish production, and its Spanish title, <i>Marc Mato, agente S077</i>, indicates that the hero has been renamed Mike Murphy specifically for the English version of the film. It is also interesting to note while both the Spanish and Italian titles make use of the agent number S077, this too is never mentioned in the English dub. Of course, none of this is too surprising as the Eurospy genre is notorious for the way different language variants of the films continuously rename both the hero and his agent number. But never mind all of that. What really matters is the fact that this is a really fun and enjoyable Eurospy adventure regardless of what the hero may be called.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlduW6D6URorM61IKWa6Ar9f-nTYF6l7l0E2Mf2Qr1Hc93ccbudmDLMoUek3IB2k5DiSC5wTdxc8jVOyu2Xsju1fLIr7fJAF6VBrn_L2q2iuGbj9fKtgg7KlQoXXfRKy0jma5_YCNtrhY/s995/Tangiers+-+Newspaper+Ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlduW6D6URorM61IKWa6Ar9f-nTYF6l7l0E2Mf2Qr1Hc93ccbudmDLMoUek3IB2k5DiSC5wTdxc8jVOyu2Xsju1fLIr7fJAF6VBrn_L2q2iuGbj9fKtgg7KlQoXXfRKy0jma5_YCNtrhY/s400/Tangiers+-+Newspaper+Ad.jpg" width="188" /></a></div> <i>A nice Italian newspaper ad for the film – prominently displaying the 077 agent number</i>
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Admittedly, the story itself hardly brings anything new to the table but director Greg Tallas is able to liven up the familiar – and at times silly – plotline with his affinity for outlandish moments, such as a cool scene in which Mike’s life is miraculously saved from an assassin’s bullet thanks to a Bible he was keeping in his inner jacket pocket. Not that he really strikes me as a Bible-reading guy but it’s good fun nonetheless. But the best such moment is a wonderful scene where Mike enters into what appears to be quiet coffin makers’ workshop – only for a series of henchmen to suddenly pop out of the coffins to attack him. The Eurospy genre is all about great moments like this, and luckily, <i>Espionage in Tangiers</i> is full of such charmingly outlandish scenes.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKI-_fki1DisKkackfGiLvrirpW5JbQ3LcZSkYrD9yejCJByXZjqATtesQXFbPK2EF0bJcbtQuMGDwIsKx34NyCaqzAflOsXvt0bLcER3ilL-FY567qk8_Go3nYotIFM77OfoaF7_aun8/s709/Tangiers+-+Coffins1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKI-_fki1DisKkackfGiLvrirpW5JbQ3LcZSkYrD9yejCJByXZjqATtesQXFbPK2EF0bJcbtQuMGDwIsKx34NyCaqzAflOsXvt0bLcER3ilL-FY567qk8_Go3nYotIFM77OfoaF7_aun8/s400/Tangiers+-+Coffins1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiByqmPIX9ksXIPePBti6kLxdMaDbzI7ieHXGJMT4NACMJRUnhQUo0bWQWqv-DgG7iFppE5hRMqOZRVHVuaM3GEyrA3tqxcQw13OlxCV6yg-vqcG6TLPzsJYfI782F-Y_lGhVr5vQ4jQ/s708/Tangiers+-+Coffins2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiByqmPIX9ksXIPePBti6kLxdMaDbzI7ieHXGJMT4NACMJRUnhQUo0bWQWqv-DgG7iFppE5hRMqOZRVHVuaM3GEyrA3tqxcQw13OlxCV6yg-vqcG6TLPzsJYfI782F-Y_lGhVr5vQ4jQ/s400/Tangiers+-+Coffins2.jpg" width="400" /></a></div> <i>One of the film’s highlights</i>
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The opening sequence, in which a series of characters eliminate each other and the dangerous device exchanges numerous hands before finally reaching the big boss, is also impressive and it establishes right from the start that these people mean business and are not afraid of turning on their own in order to tie up loose ends. Indeed, there is very much a feeling of real danger running throughout the film as no matter where Mike goes there’s always some super-efficient assassin in tow to take out any potential informant before Mike can learn any more.
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A general lack of sufficient budget is the Achilles heel of the Eurospy genre and the primary reason why these films could never compete with the spectacles of the large-scale James Bond adventures, but thankfully, <i>Espionage in Tangiers</i> appears to have been made with fairly decent means. It has pretty good production values, and adds some further gloss by employing effective location shooting not only in Tangiers but also in Nice.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJulL5_f8Hg6yspAzdVuNqtiLJMVoj22QL4KSBR7vM8nyR2ldZyI8mcsIJ49QPM9PPCZfYxbQA5VAvrL73V9aDUoamSRpvFrVliBU1p75ZXWqBW21ggin35si3T2STw8sKx850oIVYoA4/s708/Tangiers+-+Locations1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJulL5_f8Hg6yspAzdVuNqtiLJMVoj22QL4KSBR7vM8nyR2ldZyI8mcsIJ49QPM9PPCZfYxbQA5VAvrL73V9aDUoamSRpvFrVliBU1p75ZXWqBW21ggin35si3T2STw8sKx850oIVYoA4/s400/Tangiers+-+Locations1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzlBFGBxypMsgG9UBGsdBlvj0JosKOQmSxtR3ElturU1ChVehsvL8mOIA7uBSalnR14OYo0O9fQIVcB5CzkosWoM-hSfsmozO-2_x-HPBDh6Sqo1N8bqOWASnSolSQ_RpEUMIouOwBspE/s708/Tangiers+-+Locations2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzlBFGBxypMsgG9UBGsdBlvj0JosKOQmSxtR3ElturU1ChVehsvL8mOIA7uBSalnR14OYo0O9fQIVcB5CzkosWoM-hSfsmozO-2_x-HPBDh6Sqo1N8bqOWASnSolSQ_RpEUMIouOwBspE/s400/Tangiers+-+Locations2.jpg" width="400" /></a></div> <i>Nice locations such as these give the film as classier look</i>
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We are also treated to some effective set-pieces, such as Mike being caught in a chamber filling with water, and several good fight scenes featuring impressive stunt work – the best one being a fight on a shaky rope-ladder.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSxqECm_VpXMUFEp18ZfexhI9NqqPk0ckpWnrSzA7n9I4PPM8ZGxYgDWjZQxwGho5_qYacmkEQv-DZBzNu8ZMICyE_KEgrce4QZ1dG75ZQ3E8K7NcI0LcDpoSJJ8rAeH7jvptx2e_dCUE/s710/Tangiers+-+Rope+Ladder1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSxqECm_VpXMUFEp18ZfexhI9NqqPk0ckpWnrSzA7n9I4PPM8ZGxYgDWjZQxwGho5_qYacmkEQv-DZBzNu8ZMICyE_KEgrce4QZ1dG75ZQ3E8K7NcI0LcDpoSJJ8rAeH7jvptx2e_dCUE/s400/Tangiers+-+Rope+Ladder1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45grwaAauFb8_wMt5csLe7KpJ1MU-3B4-md3L67KvnrDwGlud2RsFGx3L2gWLHhVyziylJL7SN-PB3DfEM0uaygOQ_Bnjp8KWtRfCFoqBw7CAgON1NcK48tXU8-nTKpxBNKhfI4KfAm0/s707/Tangiers+-+Rope+Ladder2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45grwaAauFb8_wMt5csLe7KpJ1MU-3B4-md3L67KvnrDwGlud2RsFGx3L2gWLHhVyziylJL7SN-PB3DfEM0uaygOQ_Bnjp8KWtRfCFoqBw7CAgON1NcK48tXU8-nTKpxBNKhfI4KfAm0/s400/Tangiers+-+Rope+Ladder2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqYVBkRd0NmEQ9Z_XzLR7DY0VuQP3k4oQzkI3qS2vFpyOVZv69uivrJfjGqVv8lECmvZ2kQi7n0eYxCTjBZ4-7YrzLg4o2YeQanShyphenhyphene5352oVQ3EhZ-WBs2mFm0Jb9Pfds_a4-mG71zY/s708/Tangiers+-+Rope+Ladder3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqYVBkRd0NmEQ9Z_XzLR7DY0VuQP3k4oQzkI3qS2vFpyOVZv69uivrJfjGqVv8lECmvZ2kQi7n0eYxCTjBZ4-7YrzLg4o2YeQanShyphenhyphene5352oVQ3EhZ-WBs2mFm0Jb9Pfds_a4-mG71zY/s400/Tangiers+-+Rope+Ladder3.jpg" width="400" /></a></div> <i>Another cool action set-piece</i>
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A very important part of the film’s success is its Argentinean leading man Luis Davila, who starred in a long line of Spanish-Italian co-productions – among them the later Eurospy effort <i>Ypotron</i> (1966), the fun sci-fi adventure <i>Mission Stardust</i> (1967) and the WW2 flick <i>Suicide Commandos</i> (1968). Mike Murphy is very much a suave and cocky type of secret agent – always with a self-assured smirk on his face – that could very easily have turned into an intolerable dick, but Davila plays Mike with just the right amount of playfulness and rugged charm to make the character likable. Of course, the part requires more of Davila than to just act smooth and debonair, and he is given ample opportunity to demonstrate his physical skills in a series of fight scenes in which he proves that he can certainly throw a good punch. Davila can also be quite deadly when needed to and there’s a great moment where he barely dodges a dagger thrown at him by a hulking henchman, and quick as lightning he picks up the knife and throws it right back – hitting the henchman right in the throat. All while he smirks playfully of course.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO85IwVq0kauXMnsXQ7y8X8AbqetZOTAcm5l_C3ek-wfK3BxY_lkqY-vTDOL6PycziFtEOL-qDkjGyxxo6M_BSix0W0c6z3ru-5SpItBdMs4IahpOO-ivFd_8s0zIN3QCbt5eLKISUGjw/s709/Tangiers+-+Fight1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO85IwVq0kauXMnsXQ7y8X8AbqetZOTAcm5l_C3ek-wfK3BxY_lkqY-vTDOL6PycziFtEOL-qDkjGyxxo6M_BSix0W0c6z3ru-5SpItBdMs4IahpOO-ivFd_8s0zIN3QCbt5eLKISUGjw/s400/Tangiers+-+Fight1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxgi7BInZ-9HTm8xuigEO9X4b5fk03_UpFLY1QtwpcQRfxhBLNcEw0hCFWA9vtS3XuW9AU1qpfg7COqdqbXqIjOVclddfvgqa9R2VRJwa5K50WvYBGTJK2Vz-uMxsXU1XKeDeDnR3qeE/s708/Tangiers+-+Fight2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxgi7BInZ-9HTm8xuigEO9X4b5fk03_UpFLY1QtwpcQRfxhBLNcEw0hCFWA9vtS3XuW9AU1qpfg7COqdqbXqIjOVclddfvgqa9R2VRJwa5K50WvYBGTJK2Vz-uMxsXU1XKeDeDnR3qeE/s400/Tangiers+-+Fight2.jpg" width="400" /></a></div> <i>Davila in action</i>
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Naturally, our secret agent also knows his way around women and <i>Espionage in Tangiers</i> boasts a couple of real knockout babes – above all the ravishing José Greci in the role of Lee. Greci had been a big peplum star and once the popularity of those films started to wane by the mid 1960s, she made a successful switch to Eurospy – starting with this film and following up with <i>Operation Poker</i> (1965), <i>Last Man to Kill</i> (1966) and <i>Special Cypher</i> (1966). Greci gets to act very seductive and sexy here but also quite cunning as she is not at all as nice as she first appears. Of course she ends up paying the price for this in a great scene where a brusque Davila slaps her around like a tennis ball. But, as is often the case in Eurospy, she is shown to like this rough treatment and – clearly turned on – she grabs hold of Davila and bites his lip with fiery passion. Ah! How times have changed!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNiUSpq3sOoB-FO5zY0yW1bYrXwtY0N19HS0y_35l-54oVTdo46AzUN66S0CmdMBIpiVK4SORgdO_cO02iqkm9bYl498lOnT8xtELJnCqDH4K4ZTUOrZfsGczRzPN9ymSv6vg5Oo1N3Q/s709/Tangiers+-+Slap+Happy1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNiUSpq3sOoB-FO5zY0yW1bYrXwtY0N19HS0y_35l-54oVTdo46AzUN66S0CmdMBIpiVK4SORgdO_cO02iqkm9bYl498lOnT8xtELJnCqDH4K4ZTUOrZfsGczRzPN9ymSv6vg5Oo1N3Q/s400/Tangiers+-+Slap+Happy1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PI7yXCvph6dYXSWVyFcFgY0YAHnUd-y8RZJd7SQL2LR6t7sXY9QyDIlZZyAKxbr1eHJlnv6G5L9BAIYQwR8njpIObffLcMBALYdjZLRm9OcYOXa_F61vs9U1Xs7UCgNAkZLElkT3VE4/s709/Tangiers+-+Slap+Happy2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PI7yXCvph6dYXSWVyFcFgY0YAHnUd-y8RZJd7SQL2LR6t7sXY9QyDIlZZyAKxbr1eHJlnv6G5L9BAIYQwR8njpIObffLcMBALYdjZLRm9OcYOXa_F61vs9U1Xs7UCgNAkZLElkT3VE4/s400/Tangiers+-+Slap+Happy2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd774j6LHoIPBZ_Mb30Di1uhELOPCiHYkwKNpB04YSHFq6w4_3VQpXstP0xw25J2IsHovbWDcu2H2rAQcvQrlb4cO7jp073cTXmENjwCBfF1GPXG3zIg6WXjJztskwj8ZHk0APVuzndH8/s708/Tangiers+-+Slap+Happy3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd774j6LHoIPBZ_Mb30Di1uhELOPCiHYkwKNpB04YSHFq6w4_3VQpXstP0xw25J2IsHovbWDcu2H2rAQcvQrlb4cO7jp073cTXmENjwCBfF1GPXG3zIg6WXjJztskwj8ZHk0APVuzndH8/s400/Tangiers+-+Slap+Happy3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjilIo377js9KpBFHrgq1BB4hkTOyRVx17qriaDBxVUE-IjhBWFgAw44vbNTfpPezDcWTq54leVqT3loy-QUTj_4fadAYmYzpHs3MbZjqc6J8FjcLwu-1_QvzlvHlvYA6KnxZeXd7lL-O8/s708/Tangiers+-+Slap+Happy4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjilIo377js9KpBFHrgq1BB4hkTOyRVx17qriaDBxVUE-IjhBWFgAw44vbNTfpPezDcWTq54leVqT3loy-QUTj_4fadAYmYzpHs3MbZjqc6J8FjcLwu-1_QvzlvHlvYA6KnxZeXd7lL-O8/s400/Tangiers+-+Slap+Happy4.jpg" width="400" /></a></div> <i>And that’s how you please a lady! At least in the world of Eurospy</i>
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But the film even boasts another kinky girl – flame-haired nightclub owner and gangster chick Magda, who has a romantic past with Mike. Magda is played by sexy Argentinean spitfire Perla Cristal – known for her roles in such Spanish horror films as <i>The Awful Dr. Orloff</i> (1962), <i>Dr. Orloff’s Monster</i> (1964) and <i>Fury of the Wolfman</i> (1972) – and is dubbed in classic bitchy fashion by the great Carolynn De Fonseca. She doesn’t show up until almost an hour into the film but Cristal makes the most of her limited screen-time, with her cattish attitude and camp bitchiness making for a lot of fun. In one surprisingly brutal sequence she has her goons torture an unfortunate enemy agent by tightening a wire garrote around his belly to make him talk, and she looks decidedly turned on as she observes the scene.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKPPSerHqEKRsOO2KZwn8nJAxGr5PDYEslseYcVFHM85WomJYoUXLBM6kjxifVs3lwGjWrJvsIQiIqM-hb-oJmZ-z-LWColvts-CzYk-YlGX80c-e_phbE2M803pJpYF0r4P2Pt1A9KUQ/s708/Tangiers+-+Magda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKPPSerHqEKRsOO2KZwn8nJAxGr5PDYEslseYcVFHM85WomJYoUXLBM6kjxifVs3lwGjWrJvsIQiIqM-hb-oJmZ-z-LWColvts-CzYk-YlGX80c-e_phbE2M803pJpYF0r4P2Pt1A9KUQ/s400/Tangiers+-+Magda.jpg" width="400" /></a></div> <i>Perla Cristal as the nasty Magda</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAOKjPm8JA1HVchLydlmdiEZYyRPn4n2RTr6mkvdSuOL2ScLdDrTqfAUQomNZtTDycHIAJcUWepZM5Wvwfe8ZbjAaJ5TN6kaJV6MzGDGkE2vp6M2uHefnc0wToMADcKa91eLVI6Ux5sI/s709/Tangiers+-+Wire+Torture1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAOKjPm8JA1HVchLydlmdiEZYyRPn4n2RTr6mkvdSuOL2ScLdDrTqfAUQomNZtTDycHIAJcUWepZM5Wvwfe8ZbjAaJ5TN6kaJV6MzGDGkE2vp6M2uHefnc0wToMADcKa91eLVI6Ux5sI/s400/Tangiers+-+Wire+Torture1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdxUKLdtn5NFez5gxIbBu5ozSjba46mLadvMTj4b_9eM3az0Ti-OFpGxCCvo3_EuWW93PJr9wbFRTLTxOGMeulkV0A_lazYjv7TZDnTaSo-FJDq9318wzeE6GES0jFn1TQAIMP_v3-70/s709/Tangiers+-+Wire+Torture2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdxUKLdtn5NFez5gxIbBu5ozSjba46mLadvMTj4b_9eM3az0Ti-OFpGxCCvo3_EuWW93PJr9wbFRTLTxOGMeulkV0A_lazYjv7TZDnTaSo-FJDq9318wzeE6GES0jFn1TQAIMP_v3-70/s400/Tangiers+-+Wire+Torture2.jpg" width="400" /></a></div> <i>A surprisingly brutal torture scene</i>
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It must be said, however, that even though this film is great fun, it’s hardly a lost classic and it has its share of shortcomings. For starters there is a surprisingly scant use of music throughout the film, and that’s a pity since it could have helped set the mood in several scenes. Furthermore, the climax is unfortunately rather limp. Still, these are relatively minor quibbles as the film on the whole is very entertaining.
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Overall, <i>Espionage in Tangiers</i> is a terrifically enjoyable little slice of Eurospy fun with a good cast. It’s no classic but it comes warmly recommended to fans of the genre.
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© 2013 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabxJr-hE1sDfCEjmR53QkzPrZ3CBn_kvASDn99T9KxoCpZI-ds25aeGnJ-AzZVKfmwxwQc1UORZ6EhENxAMXNfMgu-45Ef-6M4zyFK-vAU-oSK0-py-sfFCWrIWXGLKlP9QfloRUfty8/s708/Tangiers+-+Luis+Davila.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabxJr-hE1sDfCEjmR53QkzPrZ3CBn_kvASDn99T9KxoCpZI-ds25aeGnJ-AzZVKfmwxwQc1UORZ6EhENxAMXNfMgu-45Ef-6M4zyFK-vAU-oSK0-py-sfFCWrIWXGLKlP9QfloRUfty8/s400/Tangiers+-+Luis+Davila.jpg" width="400" /></a></div> <i>Luis Davila as Mike Murphy</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIuyTwNwPansLD0u_6GEGeAUKAyjrLtnSacGSKD2whDQL5TUVvfSmhB4Aewr6kje-ALJqHJdlC6IKwtDIhK0_zGRqw7QOl8SrBI4mmA7jP7LABK1QweGDFaYa0eyzXKCKKqbqnGbYZaXo/s708/Tangiers+-+Jose+Greci.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIuyTwNwPansLD0u_6GEGeAUKAyjrLtnSacGSKD2whDQL5TUVvfSmhB4Aewr6kje-ALJqHJdlC6IKwtDIhK0_zGRqw7QOl8SrBI4mmA7jP7LABK1QweGDFaYa0eyzXKCKKqbqnGbYZaXo/s400/Tangiers+-+Jose+Greci.jpg" width="400" /></a></div> <i>José Greci as Lee Randall</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkY-32pqDoi77pSllckHkds8dTMwlOUmXDk3-bUsZG8NEvCiYBEVBJB1_bhH7L5xE123O_sj-4okIcoe8LTaZ9N5yyI9Dp7qNBKDvuNmvpAbQtY2S8iU9KIqkTfk31U3mX49klr9FYQ0o/s710/Tangiers+-+Alberto+Dalbes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkY-32pqDoi77pSllckHkds8dTMwlOUmXDk3-bUsZG8NEvCiYBEVBJB1_bhH7L5xE123O_sj-4okIcoe8LTaZ9N5yyI9Dp7qNBKDvuNmvpAbQtY2S8iU9KIqkTfk31U3mX49klr9FYQ0o/s400/Tangiers+-+Alberto+Dalbes.jpg" width="400" /></a></div> <i>Alberto Dalbes as Rigo Orie</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyMcyXwa7fit_EvustWDwwXzojDsYs6_mXgkeA-6f_Sx_HsLluYD9BA5KkRODxrMY5yNoRWJcfNEpYA5tidQsC5qHoueo3P9PDBO032UKzaNPQPeXgzyt_Q8JKyVT1myvZVkvXWix3Tg/s708/Tangiers+-+Perla+Cristal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeyMcyXwa7fit_EvustWDwwXzojDsYs6_mXgkeA-6f_Sx_HsLluYD9BA5KkRODxrMY5yNoRWJcfNEpYA5tidQsC5qHoueo3P9PDBO032UKzaNPQPeXgzyt_Q8JKyVT1myvZVkvXWix3Tg/s400/Tangiers+-+Perla+Cristal.jpg" width="400" /></a></div> <i>Perla Cristal as Magda</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmgzfpafaneYOOOd6krEo-Fc2HmJJd93gOxqX243uuhMKwoQkt2ORdHeCCKZoP6zd_BV4YVdJHkmMiB66aDQXxOg6eJhtfB4SflxbgXO6-iYMPhGHaHyapjsZigLbv2PkwbqqJo2Fb6-8/s708/Tangiers+-+Tomas+Blanco.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmgzfpafaneYOOOd6krEo-Fc2HmJJd93gOxqX243uuhMKwoQkt2ORdHeCCKZoP6zd_BV4YVdJHkmMiB66aDQXxOg6eJhtfB4SflxbgXO6-iYMPhGHaHyapjsZigLbv2PkwbqqJo2Fb6-8/s400/Tangiers+-+Tomas+Blanco.jpg" width="400" /></a></div> <i>Tomas Blanco as Professor Greff</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5rfrT5Ts9Zh4WUYqZbVOivN60YcRwAu9-m1_7U3CXBNwVcYpy7CvXsMqUOaJ_i_5hSyFL0dGlisuYn5FOZoECFuqPak7eaP8Wqm96FuZS9QKUAEcTwnXkZGmAsTpY0tQjuuYNYJ-lWw/s708/Tangiers+-+Ana+Castor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5rfrT5Ts9Zh4WUYqZbVOivN60YcRwAu9-m1_7U3CXBNwVcYpy7CvXsMqUOaJ_i_5hSyFL0dGlisuYn5FOZoECFuqPak7eaP8Wqm96FuZS9QKUAEcTwnXkZGmAsTpY0tQjuuYNYJ-lWw/s400/Tangiers+-+Ana+Castor.jpg" width="400" /></a></div> <i>Ana Castor as Arlette Steiner</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFjP-VxXIfOVjb4lhMBIUYvXa_9sp0cw-MpkqknC8drlr_s3xv8kmcXV9l7Wq85oW3hAljuZdvKOV_NhPdh0G5Y69rIK4-6Y5pPdeLvX3laONq-7aOECt1DQhWD8Lsb38yBUtAxLYNTT8/s710/Tangiers+-+Alfonso+Rojas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFjP-VxXIfOVjb4lhMBIUYvXa_9sp0cw-MpkqknC8drlr_s3xv8kmcXV9l7Wq85oW3hAljuZdvKOV_NhPdh0G5Y69rIK4-6Y5pPdeLvX3laONq-7aOECt1DQhWD8Lsb38yBUtAxLYNTT8/s400/Tangiers+-+Alfonso+Rojas.jpg" width="400" /></a></div> <i>Alfonso Rojas as Hassler</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiMFigI-EqviNzns3xayKspa-0QFdd6IMX-jjvXTUQM2In4QVZxB_2UrnVZZnlch1a7GZ3CBRH5wmgXLAXdcPik5hUWrAM3eg8UCVSS6rpmDfmwoGJi0a0qrGy_yzto17liv_tx7tbxtc/s709/Tangiers+-+Rafael+Vaquero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiMFigI-EqviNzns3xayKspa-0QFdd6IMX-jjvXTUQM2In4QVZxB_2UrnVZZnlch1a7GZ3CBRH5wmgXLAXdcPik5hUWrAM3eg8UCVSS6rpmDfmwoGJi0a0qrGy_yzto17liv_tx7tbxtc/s400/Tangiers+-+Rafael+Vaquero.jpg" width="400" /></a></div> <i>Rafael Vaquero as Rigo’s chief henchman</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4O9dwwjGYixN5mY_t2abu-xb61Vf3H0zSRgXHPHXy8V75IVq7j0Lk8_Z2bK9Y7tV45izU5oPRztpEeL865BUSWZHca8WSXz0Cf6cQIqdPjdoPbxAEOoaAoqfSpsuC10s8h79F3AT60s/s709/Tangiers+-+Barta+Barri.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4O9dwwjGYixN5mY_t2abu-xb61Vf3H0zSRgXHPHXy8V75IVq7j0Lk8_Z2bK9Y7tV45izU5oPRztpEeL865BUSWZHca8WSXz0Cf6cQIqdPjdoPbxAEOoaAoqfSpsuC10s8h79F3AT60s/s400/Tangiers+-+Barta+Barri.jpg" width="400" /></a></div> <i>Barta Barry as Accomplice in Nice</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFNbhcGFADttlUHRt6Ba6pPlSd0M7p6vxWuqWVSjAWLK9OrJaA8Shk5lphA5XFREMjG4_6u2VqWLa_y8sZQbaB0kOrI29HyDfrbaNdiQVh0r_3pskXFOppZOdVI1YDNgRv1wX4c2D2vIQ/s710/Tangiers+-+Mike's+Boss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFNbhcGFADttlUHRt6Ba6pPlSd0M7p6vxWuqWVSjAWLK9OrJaA8Shk5lphA5XFREMjG4_6u2VqWLa_y8sZQbaB0kOrI29HyDfrbaNdiQVh0r_3pskXFOppZOdVI1YDNgRv1wX4c2D2vIQ/s400/Tangiers+-+Mike's+Boss.jpg" width="400" /></a></div> <i>??? as Mike’s boss</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmYWVFQYgSxPLU6aYyILEX_PGTJ9dWuJQy51nZjGP_a31DatzXs49C1rpREG6JO3rQ-9IlRCdChCGn1az_fA6SG_VA5wU9C_mk6Ua4LpUtj0WaIm4klzClOQ9UI4efB9VzTIfi2xQeKo/s711/Tangiers+-+Fernando+Villena.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmYWVFQYgSxPLU6aYyILEX_PGTJ9dWuJQy51nZjGP_a31DatzXs49C1rpREG6JO3rQ-9IlRCdChCGn1az_fA6SG_VA5wU9C_mk6Ua4LpUtj0WaIm4klzClOQ9UI4efB9VzTIfi2xQeKo/s400/Tangiers+-+Fernando+Villena.jpg" width="400" /></a></div> <i>Fernando Villena as Inspector Ravel</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2je0N0WLqqQ_nhqP6I5t-gXTe7ws4hUBq2xo8kKrNtX93MJeaPO9feMyZLJYPZbFaBGXH88JJFXqZw9TxWQNTt2kEMxddrf7_W782SQMQfiN7Tsqtiu4EdVFNGlcChuOVOhcPFocO9Hg/s709/Tangiers+-+Alberto+Cevenini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2je0N0WLqqQ_nhqP6I5t-gXTe7ws4hUBq2xo8kKrNtX93MJeaPO9feMyZLJYPZbFaBGXH88JJFXqZw9TxWQNTt2kEMxddrf7_W782SQMQfiN7Tsqtiu4EdVFNGlcChuOVOhcPFocO9Hg/s400/Tangiers+-+Alberto+Cevenini.jpg" width="400" /></a></div> <i>Alberto Cevenini as Thief</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Ve0qSq5Hj77iqTxziyC4uk1Ks0S9LRsyEhfw6Tzf1dvOCdL4Pn1EcQbhwx0780Zpj_9iBeTUqpDWzvryt4DpQwmeAC5HMZEw-5gVR1uHWw7L0pPRh3Yp-K43KG8gYT3wmrzy2402XZE/s708/Tangiers+-+Angel+Menendez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Ve0qSq5Hj77iqTxziyC4uk1Ks0S9LRsyEhfw6Tzf1dvOCdL4Pn1EcQbhwx0780Zpj_9iBeTUqpDWzvryt4DpQwmeAC5HMZEw-5gVR1uHWw7L0pPRh3Yp-K43KG8gYT3wmrzy2402XZE/s400/Tangiers+-+Angel+Menendez.jpg" width="400" /></a></div> <i>Angel Menendez as Professor Greff’s treacherous assistant</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4186aQr1mzQyVXVMNEW0YkSVw8INdMfQLJu1m3QFUoetW-FcSpDX3NKQLN1l5pku2hAg2pq9RNXRvyvpA5zd0vAXmkgz1xXZolklR7Z12hIsTGI5JPcb6Vmraehapwa-Wi3IQT4i4JY/s708/Tangiers+-+Andre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4186aQr1mzQyVXVMNEW0YkSVw8INdMfQLJu1m3QFUoetW-FcSpDX3NKQLN1l5pku2hAg2pq9RNXRvyvpA5zd0vAXmkgz1xXZolklR7Z12hIsTGI5JPcb6Vmraehapwa-Wi3IQT4i4JY/s400/Tangiers+-+Andre.jpg" width="400" /></a></div> <i>??? as Andre, Professor Greff’s assistant</i>
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Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-23642563735460471172013-06-26T18:57:00.000-07:002015-01-30T18:29:00.671-08:00A... come assassino<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH2G3Vqdjii3_DINMHzo8Txgx6DTPc28f2vtN9A9qIacvg5TjgrCQknGeUtqntbszlRghtuRIaeVrr-Fgfy_xdEAx1_rN7DvXXJS_13yjUgtliSpJOWiYlo1c0rzQXNulJ_AlPgb5T6Q/s1600/A+Come+Assassino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIH2G3Vqdjii3_DINMHzo8Txgx6DTPc28f2vtN9A9qIacvg5TjgrCQknGeUtqntbszlRghtuRIaeVrr-Fgfy_xdEAx1_rN7DvXXJS_13yjUgtliSpJOWiYlo1c0rzQXNulJ_AlPgb5T6Q/s400/A+Come+Assassino.jpg" /></a></div>
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<b>Italy, 1966
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Directed by Angelo Dorigo
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Cast:
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Mary Arden, Sergio Ciani, Ivano Staccioli, Giovanna Galletti, Aichè Nanà, Gilberto Mazzi, Ivano Davoli, Charlie Karum, Roland Redman, Aldo Rendine, Giovanna Lenzi</b>
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Over the years there has been no shortage of interest in the Italian giallo and lucky for fans these wonderful films have been well-represented on DVD but many of the earlier examples of the subgenre have not fared as well. It’s a shame that many of these early gialli remain so obscure because even though they lack several of the notable characteristics of the later films, they are still very interesting for aficionados.
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<i>A... come assassino</i> is one of those early gialli and it is set in England in an old gothic castle. Fans of Italian horror cinema will be pleased to note that the castle in question is the famous Balsorano castle, where such horror classics as <i>Bloody Pit of Horror</i> (1965) and <i>The Devil’s Wedding Night</i> (1973) were filmed. Anyway, it all begins with the discovery of the body of eccentric millionaire John Prescott, who has been stabbed to death with a dagger.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFrArvs0OFBlRxK1cFz1Ih_qTX-j7oh48tBvNNzqiZzJxMUobQhc3Awfct6ZQzLG49reOLxxVxVECyVk66QbTEgD3dE4FwNPUCylPKGpOrc-E6o2EaG5uj0q-HFmyE1p_Cq14fJlyiQo/s1600/A+Come+Assassino+-+Balsorano+Castle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFrArvs0OFBlRxK1cFz1Ih_qTX-j7oh48tBvNNzqiZzJxMUobQhc3Awfct6ZQzLG49reOLxxVxVECyVk66QbTEgD3dE4FwNPUCylPKGpOrc-E6o2EaG5uj0q-HFmyE1p_Cq14fJlyiQo/s400/A+Come+Assassino+-+Balsorano+Castle.jpg" /></a></div> <i>A familiar sight to Italian horror fans</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIknV-7xYxQVsiKLB-nT2-imXG64AZMjmgBxCrVc1BaWlxX-sWjH76r6U0OM6qUZjFWGmgR9lQKeag-W2hdsysOSFwdYUaS2EXzu0shBdGELBLkbbSDU1cj960WsXYyHH_XIX_oJzzWg/s1600/A+Come+Assassino+-+Murder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIknV-7xYxQVsiKLB-nT2-imXG64AZMjmgBxCrVc1BaWlxX-sWjH76r6U0OM6qUZjFWGmgR9lQKeag-W2hdsysOSFwdYUaS2EXzu0shBdGELBLkbbSDU1cj960WsXYyHH_XIX_oJzzWg/s400/A+Come+Assassino+-+Murder.jpg" /></a></div> <i>Murder!</i>
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The various family members gather at the estate for the reading of the will, and we quickly learn that they all despise each other and that everyone of them are likely suspects in the murder. Prescott’s heirs – seven in total – are made up of his sister Martha (Giovanna Galletti), a bitter, old widow; his only child, Julien (Charlie Karum), who is mentally retarded and prone to hysterical fits of laughter; conniving and seductive niece Angela (Mary Arden); distant relative Armand (Ivano Davoli), who also happens to be Angela’s boyfriend; temperamental and jealous nephew George (Ivano Staccioli), and his airheaded and flirtatious wife Adriana (Aichè Nanà); as well as Prescott’s faithful secretary Giacomo (Sergio Ciani).
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS2oRPZtTef_EwSnCitWedtlS9ruYtoDYSP0_plQ7i9TW_GF2Ye08fcT8Vw1qsEG2tZ9NhhMBABxPgNVRaBmF2MWUCs5lVCMMYPQJKFpe7-e5w22I5uYnd_ghCGoJ71Cl4J5OSgRfj8vM/s1600/A+Come+Assassino+-+Heirs1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS2oRPZtTef_EwSnCitWedtlS9ruYtoDYSP0_plQ7i9TW_GF2Ye08fcT8Vw1qsEG2tZ9NhhMBABxPgNVRaBmF2MWUCs5lVCMMYPQJKFpe7-e5w22I5uYnd_ghCGoJ71Cl4J5OSgRfj8vM/s400/A+Come+Assassino+-+Heirs1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifx2ZdyElxai8UQIOyFpY5-pqJtv2wT7v5xZ2pCcgKy0H615AEFFbFQdrLj58I3WsYkpPKBGuUVEAua6aBE4ZlipKbpUGas-20WtD6HqJBx7yJhsRuItOlZzU_M1QKOMkw82jQtlcsOYU/s1600/A+Come+Assassino+-+Heirs2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifx2ZdyElxai8UQIOyFpY5-pqJtv2wT7v5xZ2pCcgKy0H615AEFFbFQdrLj58I3WsYkpPKBGuUVEAua6aBE4ZlipKbpUGas-20WtD6HqJBx7yJhsRuItOlZzU_M1QKOMkw82jQtlcsOYU/s400/A+Come+Assassino+-+Heirs2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmliN5YRTQLOLl2M5bYWvL0zXqLrkERYWf30DlkAFSG7QF1u3UhuYHxuVGdfsdH1LFqgPnBLuNZdzwIgzED7P6WL6n9jHFCkpzYMfubdef_A8DiEXRRMyiBlWlC_AZOuSyc-z3xJuaS1s/s1600/A+Come+Assassino+-+Heirs3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmliN5YRTQLOLl2M5bYWvL0zXqLrkERYWf30DlkAFSG7QF1u3UhuYHxuVGdfsdH1LFqgPnBLuNZdzwIgzED7P6WL6n9jHFCkpzYMfubdef_A8DiEXRRMyiBlWlC_AZOuSyc-z3xJuaS1s/s400/A+Come+Assassino+-+Heirs3.jpg" /></a></div> <i>The excited heirs</i>
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There is no ordinary reading of the will, however. Instead, Prescott has left behind an audio recording of his last will and testament to be played for his heirs. In the recording he takes great delight in mocking and passing judgment on each of his relatives – revealing exactly how he feels about all of them.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWgAqaDFE_EUsOQB0HwXXVvYdwE53EuSj3mfCM-lFvSf7uNpmKZpbE20li9dU5qfgRbgdCU8eknFQCe1ZdwICyiW6clD012IkYBO_sk72AUFdjCGQ5ESnaDtDPupFMWyU1fQa66cGUB5o/s1600/A+Come+Assassino+-+Recording.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWgAqaDFE_EUsOQB0HwXXVvYdwE53EuSj3mfCM-lFvSf7uNpmKZpbE20li9dU5qfgRbgdCU8eknFQCe1ZdwICyiW6clD012IkYBO_sk72AUFdjCGQ5ESnaDtDPupFMWyU1fQa66cGUB5o/s400/A+Come+Assassino+-+Recording.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6MLgbQBTYjZvlfxiAEYCElaVqzNxcFmJSOmzTb7UqtUMSjYKm3mXndsIukcCC49cJeLNQdOW0QYVh9MoxGVpzJg1Ly3rErABxAY7eBbt41RVR_CjxO1BKHlNhQq2ZRlfqLsoCbTTsy_8/s1600/A+Come+Assassino+-+Portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6MLgbQBTYjZvlfxiAEYCElaVqzNxcFmJSOmzTb7UqtUMSjYKm3mXndsIukcCC49cJeLNQdOW0QYVh9MoxGVpzJg1Ly3rErABxAY7eBbt41RVR_CjxO1BKHlNhQq2ZRlfqLsoCbTTsy_8/s400/A+Come+Assassino+-+Portrait.jpg" /></a></div> <i>The last will and testament of John Prescott</i>
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Nevertheless, Prescott leaves all of his huge fortune to be divided equally among his heirs but there is, however, a diabolical little clause in the will. Before any of them will inherit as much as a penny, they’ll all have to live together in the family castle for a month. When a month has passed, up to three heirs may show up to claim the inheritance and it will be divided equally among them. However, if more than three heirs come to claim the inheritance, none of them will receive any money. It seems as if the sly old Prescott has found the perfect way to play a final, evil prank on his greedy relatives by pitting them against one another and pretty much inviting them to kill each other off. And, of course, that is exactly what happens as the Prescotts begin to plot, double-cross and murder each other – resulting in a bit of a Shakespearian tragedy, although decidedly less serious in tone.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaEFyfM1gu7qh1DDfAHC845QRoE-L0MCT8gdGAfCP6M5z13lD8LHVhJ2fHyQOeHbaRUEldHCC_mOZ1TKSLZX2bhL3fWasFrtKe2Ou26z-4dCt8BMYL2N4_UoR2bNJp15CEx-No82JfG0/s1600/A+Come+Assassino+-+Tragedy1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaEFyfM1gu7qh1DDfAHC845QRoE-L0MCT8gdGAfCP6M5z13lD8LHVhJ2fHyQOeHbaRUEldHCC_mOZ1TKSLZX2bhL3fWasFrtKe2Ou26z-4dCt8BMYL2N4_UoR2bNJp15CEx-No82JfG0/s400/A+Come+Assassino+-+Tragedy1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9xoxIe628ub70fRFiTuw7arClzAUGK_o2fvvHw3SrlBo3i5YVscWS1DOC2k8Ta7eFyghKNEUbGgBscij0sE4_7XmYeqTVYv2FSCBJnvjJp2xs-c75-iCy8Uv2MOi0Di3bJO_1MGtIkM/s1600/A+Come+Assassino+-+Tragedy2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9xoxIe628ub70fRFiTuw7arClzAUGK_o2fvvHw3SrlBo3i5YVscWS1DOC2k8Ta7eFyghKNEUbGgBscij0sE4_7XmYeqTVYv2FSCBJnvjJp2xs-c75-iCy8Uv2MOi0Di3bJO_1MGtIkM/s400/A+Come+Assassino+-+Tragedy2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5a_FxRH384TLEFQaUHDjLM8CXmBgM_UoEaXT5jGfWx3WY8QHedqDpDWhN9t1Mc_FT5mOd-uwQTKQ87A9ndtIOqgx1Ou0O-CoiTBKQagK48WutNnI-8c50DDcy_xRy7NPP0Yl2gv1pwI/s1600/A+Come+Assassino+-+Tragedy3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5a_FxRH384TLEFQaUHDjLM8CXmBgM_UoEaXT5jGfWx3WY8QHedqDpDWhN9t1Mc_FT5mOd-uwQTKQ87A9ndtIOqgx1Ou0O-CoiTBKQagK48WutNnI-8c50DDcy_xRy7NPP0Yl2gv1pwI/s400/A+Come+Assassino+-+Tragedy3.jpg" /></a></div> <i>Death Comes as the End...</i>
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The title <i>A... come assassino</i> – i.e. A... for Assassin – refers to the film’s murder weapon, an old dagger with the letter “A” carved on its handle, which will eventually prove to play a very important part in the mystery. Apparently an English-dubbed version was prepared under the title <i>M... for Murderer</i> but this version is currently unavailable – having never received any kind of video release anywhere in the world. In fact, there doesn’t appear to have been any video release of the film under <i>any</i> language. As such it’s one of the rarer gialli out there, with the only version currently in circulation stemming from an Italian television broadcast, which is fairly nice-looking.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtWf0lyMxTR5tjF7BeFF55Ia0BoxBfgPey3KKH-lbTdmy9KHO6JHYcxUzLUnPU0yCQT2avKSwoaMckycJ0EBUM7Wrsf8ZIN4Eh6MXM_F098T4WrC570GOcJBOHfsMzkEESmPpqKa1H1U/s1600/A+Come+Assassino+-+Dagger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtWf0lyMxTR5tjF7BeFF55Ia0BoxBfgPey3KKH-lbTdmy9KHO6JHYcxUzLUnPU0yCQT2avKSwoaMckycJ0EBUM7Wrsf8ZIN4Eh6MXM_F098T4WrC570GOcJBOHfsMzkEESmPpqKa1H1U/s400/A+Come+Assassino+-+Dagger.jpg" /></a></div> <i>If an English version was prepared then the scenes featuring the dagger were probably shot twice. First using a dagger with an “A” carved on the handle as seen in the Italian version, and then with a dagger carved with “M” for the English cut.</i>
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Like other early black and white gialli such as <strong><em><a href="http://euro-fever.blogspot.no/2008/02/death-on-fourposterdelitto-allo.html">Death on the Fourposter</a></em></strong> (1964) and <strong><em><a href="http://euro-fever.blogspot.com/2008/06/game-of-crimecrimine-due.html">A Game of Crime</a></em></strong> (1964), this plays out in a gothic castle but employs a contemporary setting and, other than the brief inclusion of some nightgown-clad ladies roaming the dark with a candelabra, it never really attempts to emulate the gothic atmosphere of the classic horror films. This may come as somewhat of a surprise considering that the film was produced by actor Walter Brandi, one of the great stars of the classic Italian horror film era known for his performances in <i>The Vampire and the Ballerina</i> (1960), <i>The Playgirls and the Vampire</i> (1960) and <i>Slaughter of the Vampires</i> (1962).
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXo5qi7gFC4Y32NiRCTHgH1w2liaeJXDEQger_wSampImTFqtug22A9fRcQgL78guwMLnr5KkOXPAA8VUEzuTVZ_IpaOYEg1twDcIIKZMFgbekgLOG24ACs3aZhibY54tBhQYfHx8f7E/s1600/A+Come+Assassino+-+Gothic+Touch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiXo5qi7gFC4Y32NiRCTHgH1w2liaeJXDEQger_wSampImTFqtug22A9fRcQgL78guwMLnr5KkOXPAA8VUEzuTVZ_IpaOYEg1twDcIIKZMFgbekgLOG24ACs3aZhibY54tBhQYfHx8f7E/s400/A+Come+Assassino+-+Gothic+Touch.jpg" /></a></div> <i>The film isn’t</i> entirely <i>without gothic touches</i>
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While the inheritance plot set-up owes a fair bit to Agatha Christie, the story is actually a close adaptation of the 1957 stage play <i>A... come assassino</i> by Ernesto Gastaldi. The film’s theatrical origins are very much obvious as the plot is talkative and heavily stage-bound, with the action practically never shifting away from the old castle. That’s not to say that the film is boring, however, as Gastaldi, who would go on to become one of the most influential and reliable giallo screenwriters, is a solid scribe who knows how to set up an intricate and compelling mystery full of surprising twists. <i>A... come assassino</i> is no exception but the problem is just that it meanders along rather sluggishly in its first act.
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The set-up in itself is quite pleasing, and the sequence where the old Prescott’s audio recorded voice mocks and criticizes his greedy heirs one by one is an absolute delight. But after this the film slows down its pace and gets bogged down by a series of dialogue-heavy scenes as the various characters take turns being interrogated by a police inspector who is eager to figure out the identity of the killer. The most mind-boggling scene of all occurs at the 40 minute mark when one of the characters looses it and is tormented as he thinks back on what has happened – cue a long three minute flashback montage of the various scenes we’ve seen thus far! An absurd, incredible moment that is absolutely ridiculous. Surely one of the all-time most pathetic attempts to pad a film’s running time, yet at the same time almost impressive for its sheer audaciousness.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-O8OYcKMpLmh1PdF-a6g13cfUgsA4duGJUFjwywlPk0cWRy_qtDBTttZ_hOcHbfnq9r_DgZAzp_q6sqfU9MvYWSoAq3xNBwzkEHwVbf915X8iwaS-cFUO8V9519o15B_71EoG6R6B5F0/s1600/A+Come+Assassino+-+Flashback.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-O8OYcKMpLmh1PdF-a6g13cfUgsA4duGJUFjwywlPk0cWRy_qtDBTttZ_hOcHbfnq9r_DgZAzp_q6sqfU9MvYWSoAq3xNBwzkEHwVbf915X8iwaS-cFUO8V9519o15B_71EoG6R6B5F0/s400/A+Come+Assassino+-+Flashback.jpg" /></a></div> <i>The infamous flashback sequence</i>
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Fortunately, <i>A... come assassino</i> starts to pick up steam in its second half as the various characters’ diabolical plots against each other start to play out, and it is here that we really get to witness Gastaldi’s mastery in creating ingenious surprise twists. I’ll readily admit that it’s all rather complicated and that the credibility is weakened with each intricate twist of the plot but, truth be told, this is a hallmark of the giallo and an integral reason why so many of us love these films. It’s great to see that these characteristic elements are already in place in this early entry in the giallo canon. It should be noted, however, that the other integral giallo hallmark – flashy murder scenes – is not evident here, so don’t come in expecting an Argento-style bloodbath.
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But while the twistful plot is fun, the best part of the film undeniably comes in the form of the cunning misdeeds of its sexy Machiavellian female lead Angela, played by American actress and model Mary Arden. Arden dabbled in various Italian films in the 1960s – including a key role in Mario Bava’s seminal giallo <i>Blood and Black Lace</i> (1964) – but <i>A... come assassino</i> was her only leading role and she’s an absolute delight to watch as she deviously plots, seduces and pits the various other characters against each other.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZZgZG8WPD8ZjYehqg8g0pUciFZvDbxixo9d22G4fjaLN2FFXSisOmoVTS2MxlWor5PRop9F4OaEOgvvIlMq1snBvZeM88YfdXE_O33Km3Iu2kjeDHt0oFNkiqk8SyyQQjMHD60dm5ug/s1600/A+Come+Assassino+-+Angela.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZZgZG8WPD8ZjYehqg8g0pUciFZvDbxixo9d22G4fjaLN2FFXSisOmoVTS2MxlWor5PRop9F4OaEOgvvIlMq1snBvZeM88YfdXE_O33Km3Iu2kjeDHt0oFNkiqk8SyyQQjMHD60dm5ug/s400/A+Come+Assassino+-+Angela.jpg" /></a></div> <i>Mary Arden is awesome as the diabolical Angela</i>
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There are other interesting faces in the cast too, including peplum star Sergio Ciani, who under the anglicized pseudonym Alan Steel had enjoyed great success in the early 1960s by playing mythical muscleman heroes like Hercules, Samson and Maciste. The decline of the peplum genre in the mid 1960s meant the end of a lot of careers and several of these musclemen actors struggled to find their place in other types of films. This was to be Ciani’s only brush with giallo territory but he’s actually not as out of place here as I thought he’d be. He does a pretty good job and it’s refreshing to see him play such a smug and cynical character – a considerable contrast to the heroic roles he’d played in the past.
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Other welcome faces include the excellent Ivano Staccioli – one of the most prolific and recognizable villains of Italian genre cinema – as the temperamental and possessive George, and the wonderful Giovanna Galletti – famous for her roles as the nasty Gestapo lesbian in Roberto Rossellini’s <i>Rome, Open City</i> (1945) and as Baroness Graps in Mario Bava’s <i>Kill, Baby... Kill!</i> (1965) – as the mysterious Aunt Martha. And if you keep your eyes peeled you’ll notice Giovanna Lenzi, who years later would go on to direct the infamous giallo schlock-fest <strong><em><a href="http://euro-fever.blogspot.com/2013/02/delitti.html">Delitti</a></em></strong> (1986), in a tiny and early role as a maid.
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It would be great if the English version would surface someday because even though <i>A... come assassino</i> is a flawed film and by no means an essential giallo, it is a charming and enjoyable little film. Definitely worth a look if you are interested in early examples of the giallo.
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© 2013 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie8dKLi8aei1caGef5kZwuFFeQ70OkrjacEhc4d2x2F_7a6iXTKP5VyJexm-iTtC8hoIK9yldue9greiqlheHx6dQUrFd9dy9dU8AO8fbUxO1ubZvWbshRYKuXCFaZs9FT1ejhM0Gd-G4/s1600/A+Come+Assassino+-+Mary+Arden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie8dKLi8aei1caGef5kZwuFFeQ70OkrjacEhc4d2x2F_7a6iXTKP5VyJexm-iTtC8hoIK9yldue9greiqlheHx6dQUrFd9dy9dU8AO8fbUxO1ubZvWbshRYKuXCFaZs9FT1ejhM0Gd-G4/s400/A+Come+Assassino+-+Mary+Arden.jpg" /></a></div> <i>Mary Arden as Angela Prescott</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguL89NKoaR97F9daEFqAEByiAHyOCRegdJIg0_wRr3eM2tq-adilBH2L_Wvo7OaK5t8wqOk8GkkzrXhyphenhypheniEgZP5XvGuXKNIc5J1s6YYyAKMcNczoviD6_8CYN0RN_VisTRWAI5z1VFanuY/s1600/A+Come+Assassino+-+Sergio+Ciani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguL89NKoaR97F9daEFqAEByiAHyOCRegdJIg0_wRr3eM2tq-adilBH2L_Wvo7OaK5t8wqOk8GkkzrXhyphenhypheniEgZP5XvGuXKNIc5J1s6YYyAKMcNczoviD6_8CYN0RN_VisTRWAI5z1VFanuY/s400/A+Come+Assassino+-+Sergio+Ciani.jpg" /></a></div> <i>Sergio Ciani as Giacomo</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5vRn1dVx7SWU-_aBNtWRkvN3YtNKGkvCtyqFEGR0IqM8fwVnmVwGf0mtTYexYgZ330je6MDUo5bLGzkFW_wQ3U_boMOw87ZN5g6_AicRY-Ip7VyZKh7u90r7qrhq9-XlXcHKfnrz8Zs/s1600/A+Come+Assassino+-+Ivano+Staccioli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5vRn1dVx7SWU-_aBNtWRkvN3YtNKGkvCtyqFEGR0IqM8fwVnmVwGf0mtTYexYgZ330je6MDUo5bLGzkFW_wQ3U_boMOw87ZN5g6_AicRY-Ip7VyZKh7u90r7qrhq9-XlXcHKfnrz8Zs/s400/A+Come+Assassino+-+Ivano+Staccioli.jpg" /></a></div> <i>Ivano Staccioli as George Prescott</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnN8nKO2EUREXt0MXRXdUP9N2m54pOa5ipgA1o9Wyob5pPbykklIUExjQyMw_9UjqVTPDHYiAQTpTE87IvNHyjj6HTxxRPWlbl1IDBZuIM_Cwm1ogYNK5EP8rlMpF_Mf-pu4qNlEkBPg/s1600/A+Come+Assassino+-+Giovanna+Galletti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnN8nKO2EUREXt0MXRXdUP9N2m54pOa5ipgA1o9Wyob5pPbykklIUExjQyMw_9UjqVTPDHYiAQTpTE87IvNHyjj6HTxxRPWlbl1IDBZuIM_Cwm1ogYNK5EP8rlMpF_Mf-pu4qNlEkBPg/s400/A+Come+Assassino+-+Giovanna+Galletti.jpg" /></a></div> <i>Giovanna Galletti as Martha Prescott</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTEec96X_zS1FfU_hEvq7qUEk_mWtc1NOLjE4ol3qGqqjLEpVAEMCFcayZ9fWDXXB_GnKf99bOSpScXHgbjK-8i-5eWnOsG_n0xMz3SzSaZn0VVrrffWQV8_YDc1mbbNfsXNmpC6_0WO0/s1600/A+Come+Assassino+-+Aiche+Nana.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTEec96X_zS1FfU_hEvq7qUEk_mWtc1NOLjE4ol3qGqqjLEpVAEMCFcayZ9fWDXXB_GnKf99bOSpScXHgbjK-8i-5eWnOsG_n0xMz3SzSaZn0VVrrffWQV8_YDc1mbbNfsXNmpC6_0WO0/s400/A+Come+Assassino+-+Aiche+Nana.jpg" /></a></div> <i>Aichè Nanà as Adriana Prescott</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vhBcE7XLxzqW-UCYjJ-2cjR2vlPv3S2sHkDeXN9Dy2m3omYsKwcZc2L17e3iFtbFHrazBeFwR7kSdR9mANEVL1HtoN4U_I2-rfQopcGrNHqz22xfJ5cw2IreZe9XYjOeEYBf0yym_lI/s1600/A+Come+Assassino+-+Gilberto+Mazzi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vhBcE7XLxzqW-UCYjJ-2cjR2vlPv3S2sHkDeXN9Dy2m3omYsKwcZc2L17e3iFtbFHrazBeFwR7kSdR9mANEVL1HtoN4U_I2-rfQopcGrNHqz22xfJ5cw2IreZe9XYjOeEYBf0yym_lI/s400/A+Come+Assassino+-+Gilberto+Mazzi.jpg" /></a></div> <i>Gilberto Mazzi as Inspector Matt</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Tvo46bOk7URjQNXv_sIzKlMyxYEZG4Bqg6tKJGoPQX3u8qudRp_w6sPiGyf-fNjQnJsu3Cw_tuLrUQPczO1acOoHshl5cQGK3FqBIysZ1re7zJkCiKnuZ_SVUWuioq9mpkUUm0FRF4s/s1600/A+Come+Assassino+-+Ivano+Davoli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Tvo46bOk7URjQNXv_sIzKlMyxYEZG4Bqg6tKJGoPQX3u8qudRp_w6sPiGyf-fNjQnJsu3Cw_tuLrUQPczO1acOoHshl5cQGK3FqBIysZ1re7zJkCiKnuZ_SVUWuioq9mpkUUm0FRF4s/s400/A+Come+Assassino+-+Ivano+Davoli.jpg" /></a></div> <i>Ivano Davoli as Armando</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWCRSHqH9mQxtYBLS851taKoqrkvGn-3SFh_Es-VRnJJiDP1FGnb8ESr4LAdsl1GRzMWgwdaqDRUrL_yEDgFEZ6ZffK3w-94aM54786g86F8DrnZQ-wC9gAJvKVHfpzLSnevyUXyUEDY/s1600/A+Come+Assassino+-+Charlie+Karum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNWCRSHqH9mQxtYBLS851taKoqrkvGn-3SFh_Es-VRnJJiDP1FGnb8ESr4LAdsl1GRzMWgwdaqDRUrL_yEDgFEZ6ZffK3w-94aM54786g86F8DrnZQ-wC9gAJvKVHfpzLSnevyUXyUEDY/s400/A+Come+Assassino+-+Charlie+Karum.jpg" /></a></div> <i>Charlie Karum as Julien Prescott</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHl66U4l49ivnySXKz_7-c32U5SF3Odii0Cqb62ybhVORDFLVBNERfzNbebFKuDESF08OZNGVNqg1NBi5zQa4H05NSJNkMpE8ktHWQMbioq0xuO-GnHyEPacQwWdgre2D1t5RJQx7CM7w/s1600/A+Come+Assassino+-+Roland+Redman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHl66U4l49ivnySXKz_7-c32U5SF3Odii0Cqb62ybhVORDFLVBNERfzNbebFKuDESF08OZNGVNqg1NBi5zQa4H05NSJNkMpE8ktHWQMbioq0xuO-GnHyEPacQwWdgre2D1t5RJQx7CM7w/s400/A+Come+Assassino+-+Roland+Redman.jpg" /></a></div> <i>Roland Redman as Sergeant Robson</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTip1gZM7q1Q50C84aylialRJkxcUqKuS1ydOkAWBHeW5J7TzO6K3KjuXKx0CVLiDVmGk0UlgnNE1ciTPs7zTY-_1ciTkE4CVeN6u-mYLX4PIA9U-SSYSU9G1DED1VHX0ke6r5ThxnIcM/s1600/A+Come+Assassino+-+Aldo+Rendine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTip1gZM7q1Q50C84aylialRJkxcUqKuS1ydOkAWBHeW5J7TzO6K3KjuXKx0CVLiDVmGk0UlgnNE1ciTPs7zTY-_1ciTkE4CVeN6u-mYLX4PIA9U-SSYSU9G1DED1VHX0ke6r5ThxnIcM/s400/A+Come+Assassino+-+Aldo+Rendine.jpg" /></a></div> <i>Aldo Rendine as Notary Jackson</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmpaWoUxzc0WIpIpip_Hs4dRQaiTJ-cauDEyDdsidARchzz8sJF9PRq5Bsfxm33d5Pt7ryqnhcIA0BpKDUG2lXxZWpQEQgKD3b1WQxpZj9CGaSmu6IJnN1exbE5TBttPowMyGSymfIxe0/s1600/A+Come+Assassino+-+Giovanna+Lenzi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmpaWoUxzc0WIpIpip_Hs4dRQaiTJ-cauDEyDdsidARchzz8sJF9PRq5Bsfxm33d5Pt7ryqnhcIA0BpKDUG2lXxZWpQEQgKD3b1WQxpZj9CGaSmu6IJnN1exbE5TBttPowMyGSymfIxe0/s400/A+Come+Assassino+-+Giovanna+Lenzi.jpg" /></a></div> <i>Giovanna Lenzi as Mary, the maid</i>
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Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-75395916601563391912013-06-17T15:21:00.000-07:002014-07-25T18:48:16.004-07:00Mania<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjI_A36-SQiWFK8tdU4-jNUMJIS4vGmU-cUfrSNmvZW4V7gKmIlZtQEPa-S_cexxattL7Bj38ORcFc-6rtW_l4c6Gxw-Iy4ZSthSwfJbyGIZ1yU1KOFXfLc8n8haRHHWQO9N2ZNAr3xA/s1600/Mania.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjI_A36-SQiWFK8tdU4-jNUMJIS4vGmU-cUfrSNmvZW4V7gKmIlZtQEPa-S_cexxattL7Bj38ORcFc-6rtW_l4c6Gxw-Iy4ZSthSwfJbyGIZ1yU1KOFXfLc8n8haRHHWQO9N2ZNAr3xA/s400/Mania.jpg" /></a></div>
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<b>Italy, 1973
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Directed by Renato Polselli
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Cast:
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Eva Spadaro, Brad Euston, Mirella Rossi, Ivana Giordan, Isarco Ravaioli, Max Dorian</b>
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In the long and glorious history of Italian genre cinema there are many examples of films that have faded into obscurity and remain difficult to locate – at least in decent quality versions. Some are harder to get hold of than others, though, and one film that has taken on an almost mythical holy grail status among collectors is Renato Polselli’s delirious horror-thriller <i>Mania</i> from 1973. The film was released theatrically in August 1974 but received very limited distribution before quickly vanishing. It was never released on VHS in Italy or anywhere else in the world and has never shown up on Italian television, either. Even Renato Polselli himself stated that he did not own a copy of the film. Every now and then collectors have claimed to have obtained a hitherto unheard of VHS release or a screener tape of the film but in the end these claims are always revealed to be nothing but tall tales. Eventually, <i>Mania</i> came to be considered a lost film – one which was unlikely to ever resurface.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNkr2_PClKHZVbs51FYexEKt34SqD4A78joB0eKGawcgYNH_Cp5u0g14lCN1hxKmuhPLbsBvWteha6h8IOuUbfN-viKiyCKQK3yQjMDc_jOhFfepI0TPrmvs27a949e6vsscSVzVks9As/s1600/Mania+-+Madness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNkr2_PClKHZVbs51FYexEKt34SqD4A78joB0eKGawcgYNH_Cp5u0g14lCN1hxKmuhPLbsBvWteha6h8IOuUbfN-viKiyCKQK3yQjMDc_jOhFfepI0TPrmvs27a949e6vsscSVzVks9As/s400/Mania+-+Madness.jpg" /></a></div>
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<i>A scene from</i> Mania <i>depicting the madness of its female lead but also an apt illustration of the tremendous frustration experienced by collectors who have desperately tried to track down the film</i>
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In 2007, however, a new glimmer of hope appeared on the horizon. A 35mm print was unearthed in the archives of the Cineteca Nazionale, who retain copies of all Italian film passed by the censorship board. On 2 May 2007 this print was screened – for the first time in more than 30 years – at the Trevi Cinema as part of a retrospective on the career of Polselli, who unfortunately passed away in 2006. Some talk started to fly that DVD company NoShame was planning on releasing this long-lost film, and it finally seemed as though <i>Mania</i> was due for rediscovery. But, alas, it was not to be. NoShame went out of business quickly afterwards and there has been no more word on a possible release. In fact, <i>Mania</i> has not been shown again since the special screening in May 2007 and it remains as obscure and impossible to see as it was before. The only consolation is the fact that an absolutely wild theatrical trailer has been made available and can be watched on YouTube:
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/6xxNuonTQsA" width="420"></iframe>
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And so we wait – hoping and praying that one day we’ll be able to see this legendary piece of Italian cult cinema. But while we wait, it is possible to learn more about <i>Mania</i> by looking at its fascinating trailer, reading descriptions of the film and, last but certainly not least, by examining the rare photo-novel version of the film printed in the magazine Cinesex Mese in November 1973. Obviously, it’s not the same as actually watching the film but for the time being it remains the best option, and it allows one to at least form somewhat of an impression of what the film itself will be like. I am now going to take a closer look at the film and its plot – aided by plenty of scans from the photo-novel and screenshots from the trailer – so read on if you want to know more about this mythical film but do be warned that this coverage includes several spoilers.
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The mania of the title refers to the condition suffered by its protagonist Lisa (Eva Spadaro), an attractive blonde woman with nymphomaniac tendencies, who is haunted by disturbing visions of her late husband. Lisa’s psychiatrist, Professor Lous (Polselli regular Max Dorian), tries to convince her that her fears are irrational and encourages her to confront her demons by returning to the villa where her husband died three years ago.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YgMaQt8wOryM-ZFLZX7P2KSm4la5uClmnDR5Xnx5BB-BX62bsFMXDIetoOxyCUK0zOR7dpC7PxSliAc6yQfQkWWBF9jQg8-gafuJXlXPIGkdEP2N5D9VMI1uqrjRiILf41vFJP8E140/s1600/Mania+-+Lisa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YgMaQt8wOryM-ZFLZX7P2KSm4la5uClmnDR5Xnx5BB-BX62bsFMXDIetoOxyCUK0zOR7dpC7PxSliAc6yQfQkWWBF9jQg8-gafuJXlXPIGkdEP2N5D9VMI1uqrjRiILf41vFJP8E140/s400/Mania+-+Lisa1.jpg" /></a></div>
<i>Eva Spadaro, in her only film appearance, stars as Lisa</i>
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The circumstances behind the death of Lisa’s husband are soon revealed to us when Lisa relates the tragic story to her current boyfriend Lailo (Isarco Ravaioli, another Polselli regular). We learn that Lisa’s husband was professor Brecht (Brad Euston), a renowned scientist involved in strange researches on electronics and corpses. Flashbacks show Brecht as completely engulfed by his research, and the neglected Lisa reacts by taking up a steamy affair with her husband’s twin brother Germano (also Euston). Their treachery is eventually discovered, however, when Brecht catches them carelessly having sex on the terrace.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCr0fiB5m-tj_SSj0gTqDGLdvfWfMJ1g3tI9Ajbl6h0ctJEC0KcU_EnWGhyTfJVck_aUCgQo0H1HFPz9eoByuq-lXZgXAbuX1jwh9-M_ePN3Rjmt0Z-ZonT9KOpMUBUsUDhGqH96d3L8E/s1600/Mania+-+Lailo+&+Lisa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCr0fiB5m-tj_SSj0gTqDGLdvfWfMJ1g3tI9Ajbl6h0ctJEC0KcU_EnWGhyTfJVck_aUCgQo0H1HFPz9eoByuq-lXZgXAbuX1jwh9-M_ePN3Rjmt0Z-ZonT9KOpMUBUsUDhGqH96d3L8E/s400/Mania+-+Lailo+&+Lisa.jpg" /></a></div> <i>Lisa reveals her past to her lover, Lailo</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYx-8ZYwz77RC-Cwdym2GIiSxsuxHyUdBOt4ZEn-4lnj6UxopKbjiVn0xLcNvz2MRmPEeRIHhuhQZqpJ7OmKMMEzJ-zOaI_QoIsphyphenhyphenES8DtJro6ZKraOVdeqB9BZrGgjIjjsrHgDuak4/s1600/Mania+-+Brecht.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYx-8ZYwz77RC-Cwdym2GIiSxsuxHyUdBOt4ZEn-4lnj6UxopKbjiVn0xLcNvz2MRmPEeRIHhuhQZqpJ7OmKMMEzJ-zOaI_QoIsphyphenhyphenES8DtJro6ZKraOVdeqB9BZrGgjIjjsrHgDuak4/s400/Mania+-+Brecht.jpg" /></a></div> <i>Brad Euston is Lisa’s husband, Professor Brecht</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9TR68JBTZYKgER-mVmleF6ARsFT8tixg6gBli2EaR8Mp08cLMNO3LYQWbR4Bd7aO-c-cZMZzx6CmX9I8c31ZZ_8Iv84iPZPV8aOhe8wn4yk6C6EgHxsGA638l6xS_Rx-uX7BohycoGJo/s1600/Mania+-+Infidelity1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9TR68JBTZYKgER-mVmleF6ARsFT8tixg6gBli2EaR8Mp08cLMNO3LYQWbR4Bd7aO-c-cZMZzx6CmX9I8c31ZZ_8Iv84iPZPV8aOhe8wn4yk6C6EgHxsGA638l6xS_Rx-uX7BohycoGJo/s400/Mania+-+Infidelity1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8YVK5445gxtMGKP7bKNpLGhGKCnkIknlAMsh7-ccd92R_hP2Yyh2jgdwDwZv4WAjIJoRcl4Hls2v8EBWN5DxQdqoD3CRUVM96D9a5slOqjDFYlF12N3aiV4aeK_RLbapPTmuiUe1EdtQ/s1600/Mania+-+Infidelity2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8YVK5445gxtMGKP7bKNpLGhGKCnkIknlAMsh7-ccd92R_hP2Yyh2jgdwDwZv4WAjIJoRcl4Hls2v8EBWN5DxQdqoD3CRUVM96D9a5slOqjDFYlF12N3aiV4aeK_RLbapPTmuiUe1EdtQ/s400/Mania+-+Infidelity2.jpg" /></a></div> <i>Lisa getting it on with her brother-in-law</i>
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Instead of reacting, Brecht isolates himself further – devoting all of his time to his research until one night a terrible fire breaks out in his laboratory. Germano rushes to save his brother but is caught in the harrowing flames. Meanwhile, Lisa witnesses the whole incident from behind a shut iron gate leading into the laboratory. In her state of shock and terror she stands immobilized – neglecting to open the gate to rescue her husband and lover from the fiery inferno. This will prove to have dire consequences for all of the parties: professor Brecht is horribly burnt to a bloody crisp; Germano miraculously survives but both of his hands and parts of his face are disfigured by the flames and his legs are paralyzed; and Brecht’s beautiful lab assistant Erina (Polselli favorite Mirella Rossi), who stood behind the gate with Lisa and watched, is so traumatized that she loses the ability to speak.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinDUcYkKQatzkk8RleQVx993rRjUuOABl96XvyOpLQNySOLgJ-NV5L3BrgXUODmyQaaNLbVen0BaK4rtfYWIPdK9d1hkCa9F3oAb7Jq4-SB4IDYIHEQ7-6BdrHqn1vlzNOaJAMMUn96Y/s1600/Mania+-+Fire3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinDUcYkKQatzkk8RleQVx993rRjUuOABl96XvyOpLQNySOLgJ-NV5L3BrgXUODmyQaaNLbVen0BaK4rtfYWIPdK9d1hkCa9F3oAb7Jq4-SB4IDYIHEQ7-6BdrHqn1vlzNOaJAMMUn96Y/s400/Mania+-+Fire3.jpg" /></a></div> <i>The fiery inferno in Professor Brecht’s laboratory</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN70QILg6kQjv3rsGrnr2yAskw7wpnMOmUXYzfo5HAzefJ1dXM09ZIkrPYvbpkxfCUk8fcMsA8fsHu6XmxR5_kO-tOY5l4Yrnau8q_wR7eey447PgKJnqqyNyyZS-12zvbL9DEYwviigg/s1600/Mania+-+Fire4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN70QILg6kQjv3rsGrnr2yAskw7wpnMOmUXYzfo5HAzefJ1dXM09ZIkrPYvbpkxfCUk8fcMsA8fsHu6XmxR5_kO-tOY5l4Yrnau8q_wR7eey447PgKJnqqyNyyZS-12zvbL9DEYwviigg/s400/Mania+-+Fire4.jpg" /></a></div> <i>Lisa is frozen with fear at the sight of the fire</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91VzKvp81ytGcnLimcJ2kkQ3YTPKG0rfRqgpleQSUWhZIiNp0VBfMQo0F-Z_qS_KzFe8Oel9vrRdKYl5RWpqlj2m2wlP8v0v7WDTZgNaN8RDIfww1-D1b07yNGVRBm1SjmgA6h3-IHYE/s1600/Mania+-+Fire5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91VzKvp81ytGcnLimcJ2kkQ3YTPKG0rfRqgpleQSUWhZIiNp0VBfMQo0F-Z_qS_KzFe8Oel9vrRdKYl5RWpqlj2m2wlP8v0v7WDTZgNaN8RDIfww1-D1b07yNGVRBm1SjmgA6h3-IHYE/s400/Mania+-+Fire5.jpg" /></a></div> <i>Frequent Polselli actress Mirella Rossi is Professor Brecht’s assistant, Erina, who is struck dumb by the shock of witnessing the gruesome fire</i>
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Lisa has not set foot in the villa since that tragic night three years ago but decides to follow her psychiatrist’s advice and confront her past. Her terrifying visions of her dead husband still persist, however. In her room she discovers old love letters from Brecht – letters she remembers having destroyed years ago. And then the charred zombie-like corpse of Professor Brecht appears before Lisa and menaces her before suddenly vanishing. Of course, it’s all part of Lisa’s imagination. Or is it...?
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_iEkKYWPs0qLqo2vzXiGynWbi_giZy0gcuQWNiOI8uMbMbDS3FnlKP_G5GEBOZwCmKR1ZcNYeSm5kvYd7_NXA-sUye2V6eDSPrc14qzBY6AwRgZ7KRbs9oKF-Hdk6Kfy1Qf8myOprVMg/s1600/Mania+-+Visions1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_iEkKYWPs0qLqo2vzXiGynWbi_giZy0gcuQWNiOI8uMbMbDS3FnlKP_G5GEBOZwCmKR1ZcNYeSm5kvYd7_NXA-sUye2V6eDSPrc14qzBY6AwRgZ7KRbs9oKF-Hdk6Kfy1Qf8myOprVMg/s400/Mania+-+Visions1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBZVmhgNqBUHuAguxaQ3qa_a28VNrgq1HkeDcYjAH3wEo9lW-JQfHYrocPqZi76vnm6QL8zYnNsVT14vvZ2L-R4jJXfegMbm5OoKAW2c1cR4HS50KwjetnSVlpN9PbWnTc-p0_K5YmmGs/s1600/Mania+-+Visions2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBZVmhgNqBUHuAguxaQ3qa_a28VNrgq1HkeDcYjAH3wEo9lW-JQfHYrocPqZi76vnm6QL8zYnNsVT14vvZ2L-R4jJXfegMbm5OoKAW2c1cR4HS50KwjetnSVlpN9PbWnTc-p0_K5YmmGs/s400/Mania+-+Visions2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Qy5Mqp40fI3geaG0AWphxOMrXut-SgV0XLRi0IoaCfUKDjSGq91oSyZHpx8pOhvu6GGyEUABK6aMSkx6xB_BVvJ-4rdUTUXzlYX6PVXc1v6rkDKNJkbmvaAjSe4GatmtImfwqvd7y5s/s1600/Mania+-+Visions3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Qy5Mqp40fI3geaG0AWphxOMrXut-SgV0XLRi0IoaCfUKDjSGq91oSyZHpx8pOhvu6GGyEUABK6aMSkx6xB_BVvJ-4rdUTUXzlYX6PVXc1v6rkDKNJkbmvaAjSe4GatmtImfwqvd7y5s/s400/Mania+-+Visions3.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAd0jsj2eTwveT8tZSi-57mrU_-rD_ZKMeYhxj6nBCmJsXPPoYdem6-1gID3IF3rfymmIgzk-2eN7ID3xtfmoGxbXTAmUdEDGwTqf3DpocOWEwKlRV4HkROtdabfb1q2TQH0OjZr5G_x0/s1600/Mania+-+Visions4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAd0jsj2eTwveT8tZSi-57mrU_-rD_ZKMeYhxj6nBCmJsXPPoYdem6-1gID3IF3rfymmIgzk-2eN7ID3xtfmoGxbXTAmUdEDGwTqf3DpocOWEwKlRV4HkROtdabfb1q2TQH0OjZr5G_x0/s400/Mania+-+Visions4.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVBzgoyfmSb4x6s3b1hLE1YUZn0ZAATL5zakF7RWpLyoy7hKtCcAqOJDLABSpRkbbw2lMISPOTXTaDgy5JwFJd2jmfqaiDT-B3-hHUCGLfVu4zhbbBFWuFumuw2EQXVcDU_l8b2lbKT0/s1600/Mania+-+Visions5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVBzgoyfmSb4x6s3b1hLE1YUZn0ZAATL5zakF7RWpLyoy7hKtCcAqOJDLABSpRkbbw2lMISPOTXTaDgy5JwFJd2jmfqaiDT-B3-hHUCGLfVu4zhbbBFWuFumuw2EQXVcDU_l8b2lbKT0/s400/Mania+-+Visions5.jpg" /></a></div> <i>Lisa is attacked by her husband’s monstruous corpse</i>
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Erina – still mute from the shock – and the now bitter, disfigured and wheelchair bound Germano are still living in the villa and the latter is not particularly happy to have Lisa back. Lisa acts dismissively towards him but Germano grabs hold of her and tries to force her to kiss his badly disfigured hands.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVK21sX5h-TmtbCE-SF9-DKGzIvSwU89r67iKHEVoq5HfgzIE2Hbvtz2u-I03cef5wQUJ0Jel7BobFHvL_8EpruCs2OtX7bXchohwzP0mjykpHgfVUDxOyUzAT11-tRXn7UTs9DBx8PuE/s1600/Mania+-+Confrontation1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVK21sX5h-TmtbCE-SF9-DKGzIvSwU89r67iKHEVoq5HfgzIE2Hbvtz2u-I03cef5wQUJ0Jel7BobFHvL_8EpruCs2OtX7bXchohwzP0mjykpHgfVUDxOyUzAT11-tRXn7UTs9DBx8PuE/s400/Mania+-+Confrontation1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbnUjyyZdy8NuF2El9mDVcE90gasN914WC5Sg3NR9mZurfgA74n7q-lF-XGDpxRiX4nr8_WAH2wEFk_s3LQV2iLa6-2M3dNDk9nQtXrnYdbn6LO3E4ugQucw5c9ePieDsxhK6xX3-_nY/s1600/Mania+-+Confrontation2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbnUjyyZdy8NuF2El9mDVcE90gasN914WC5Sg3NR9mZurfgA74n7q-lF-XGDpxRiX4nr8_WAH2wEFk_s3LQV2iLa6-2M3dNDk9nQtXrnYdbn6LO3E4ugQucw5c9ePieDsxhK6xX3-_nY/s400/Mania+-+Confrontation2.jpg" /></a></div> <i>Germano attacks Lisa</i>
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However, they are interrupted by the arrival of Katia (Ivana Giordan), Lisa’s faithful maid whom she has summoned to keep her company. It quickly transpires that the two women have an intimate relationship, and they soon embark upon a round of lesbian lovemaking in Lisa’s bedroom. They are secretly observed by Erina, who is turned on by the spectacle and starts undressing and touching herself. She doesn’t leave it at that, though, but actually grabs hold of a bottle and starts pleasuring herself.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXWiXYj1s6cEY271JiXezTWQXATxjN7GYmw7OvwJFaEEudjxk7trWnklT5kckDVG3X_V7nVLIVm6U57u0ykKE7XYwU6mSCMRpXWNvl2xJ2fp3JXZaJp6k25OslCqmsYF6KN8A499TQvSw/s1600/Mania+-+Katia+Undressed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXWiXYj1s6cEY271JiXezTWQXATxjN7GYmw7OvwJFaEEudjxk7trWnklT5kckDVG3X_V7nVLIVm6U57u0ykKE7XYwU6mSCMRpXWNvl2xJ2fp3JXZaJp6k25OslCqmsYF6KN8A499TQvSw/s400/Mania+-+Katia+Undressed.jpg" /></a></div> <i>Ivana Giordan is Katia, the lesbian maid</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOpFTI47Venzlddf5nhWwWlvQcwRtiMsGxRAr3hNvo_E_BwYThD45faY9YyIZXNjA9GGsOcMSqZR2viKdIhNjGDqamAwBpBRzMvR2eab1Auv2Vt_f_AKWEFdnhh7VHuqntmv7TBsVnU4/s1600/Mania+-+Lesbians1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOpFTI47Venzlddf5nhWwWlvQcwRtiMsGxRAr3hNvo_E_BwYThD45faY9YyIZXNjA9GGsOcMSqZR2viKdIhNjGDqamAwBpBRzMvR2eab1Auv2Vt_f_AKWEFdnhh7VHuqntmv7TBsVnU4/s400/Mania+-+Lesbians1.jpg" /></a></div> <i>Lisa and Katia get down to business</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMHgvHiw1jPNNn_7ursQv4HKpdiRkP9rKQy91-OIYPk9xc6RXDQ1MjvdMn67CHGxBfKt9Ir270qheF0lV94qfrrX6H8cB8Xt1z5xL6LhnPw-UhKxp3ul5fg-wk-L-kL36SoIaE5uZQDI/s1600/Mania+-+Lesbians2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMMHgvHiw1jPNNn_7ursQv4HKpdiRkP9rKQy91-OIYPk9xc6RXDQ1MjvdMn67CHGxBfKt9Ir270qheF0lV94qfrrX6H8cB8Xt1z5xL6LhnPw-UhKxp3ul5fg-wk-L-kL36SoIaE5uZQDI/s400/Mania+-+Lesbians2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE2AuVd6DUx6Y3VIRC8Z_AZ8pCpaoCrfftsw0-ec3v6jrtSAUmASK8J8t1X9UWfwHv_g37j06PvF2OaGzyJKGx1RaB0Nms4NnRQ287lhiQbzbrj8ZDZKqoOvCoxzHZZxW0aOqWFRsHTkU/s1600/Mania+-+Lesbians3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE2AuVd6DUx6Y3VIRC8Z_AZ8pCpaoCrfftsw0-ec3v6jrtSAUmASK8J8t1X9UWfwHv_g37j06PvF2OaGzyJKGx1RaB0Nms4NnRQ287lhiQbzbrj8ZDZKqoOvCoxzHZZxW0aOqWFRsHTkU/s400/Mania+-+Lesbians3.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQnGGCN34__DKytkh5AYJ4qIQJOBZU_dEQQmxGY94qVEV3yrP474SCMpejVIvMmTbPcQZU2WuQT8SCTAvQPnKu9jucFQ8kcFAzQ5NilsjnOZWmVQwRP2UOzHe4RDsNfZl52LD4FfV_ss/s1600/Mania+-+Lesbians4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQnGGCN34__DKytkh5AYJ4qIQJOBZU_dEQQmxGY94qVEV3yrP474SCMpejVIvMmTbPcQZU2WuQT8SCTAvQPnKu9jucFQ8kcFAzQ5NilsjnOZWmVQwRP2UOzHe4RDsNfZl52LD4FfV_ss/s400/Mania+-+Lesbians4.jpg" /></a></div> <i>Keeping up the tradition from </i>Revelations of a Psychiatrist in a World of Perverse Sex <i>and </i>Oscenità<i>, Mirella Rossi delivers yet another uninhibited performance for Polselli</i>
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In the end, Erina’s moans of pleasure are heard by the two other women, and the furious Katia gets into a chick fight with her. Erina is thrown out from the room and gets surprised by the demented Germano, who grabs her face with some kind of medieval-looking torture instrument and starts accosting her – forcefully masturbating the poor girl with his grotesque, disfigured hands.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAlgCtRyY4N_z4ZdlEqFst5VAt1-40yl_Y3IsGj6A1I6S61oAvRkJub6kJNVNK9ImfAJibTDbkabp8wkrkmyy613v-fchvzWclZTxeQV1vVWbx9x8_RO4Avd2h0cQBqZYQHzb4XlwwvRs/s1600/Mania+-+Torture+Device.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAlgCtRyY4N_z4ZdlEqFst5VAt1-40yl_Y3IsGj6A1I6S61oAvRkJub6kJNVNK9ImfAJibTDbkabp8wkrkmyy613v-fchvzWclZTxeQV1vVWbx9x8_RO4Avd2h0cQBqZYQHzb4XlwwvRs/s400/Mania+-+Torture+Device.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE8VOzRcffJlLQcHXVAzhSBPS4TfgcVOt9DBknoFkvELsLz3F1d3P-YchzQe4cspkY1I4TtOoI6Lp_zAraWFqJ0FCAGUD00Oq0b-GQPUPFCO72r8EZoqjoPmI_hnBByz4T7oLInn6rpI/s1600/Mania+-+Torture+Device2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE8VOzRcffJlLQcHXVAzhSBPS4TfgcVOt9DBknoFkvELsLz3F1d3P-YchzQe4cspkY1I4TtOoI6Lp_zAraWFqJ0FCAGUD00Oq0b-GQPUPFCO72r8EZoqjoPmI_hnBByz4T7oLInn6rpI/s400/Mania+-+Torture+Device2.jpg" /></a></div> <i>Germano uses his vicious torture device on poor Erina</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYHylNrqcQGQBPpppg182250-MNP3jyIUF6Ij_ahaoD6gtAzTtMFVtaUS7rflFyXSssKw-cSIlX-0XL5fGijhmWLqxgsRdY4CDMfm4sDeaOvU4e_BuR9QI9-5rsbJN-7HU_6wrAOnXrg/s1600/Mania+-+Assault1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYHylNrqcQGQBPpppg182250-MNP3jyIUF6Ij_ahaoD6gtAzTtMFVtaUS7rflFyXSssKw-cSIlX-0XL5fGijhmWLqxgsRdY4CDMfm4sDeaOvU4e_BuR9QI9-5rsbJN-7HU_6wrAOnXrg/s400/Mania+-+Assault1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW-rjLasP7mVBStG0BUPOV_5PIFp4YYL2QkQCWpWWqnag1O8p4ayq4p7cp7TsWrV4rBmDXlUTh1PSPj6gnoVTyudBNNZL3eBIy3HrGvbKskJekreHnWIrOy0BRM2-h8zc5aNK5t1JYbQ/s1600/Mania+-+Assault2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW-rjLasP7mVBStG0BUPOV_5PIFp4YYL2QkQCWpWWqnag1O8p4ayq4p7cp7TsWrV4rBmDXlUTh1PSPj6gnoVTyudBNNZL3eBIy3HrGvbKskJekreHnWIrOy0BRM2-h8zc5aNK5t1JYbQ/s400/Mania+-+Assault2.jpg" /></a></div> <i>Erina is accosted by Germano</i>
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Meanwhile, Lisa’s visions of her late husband continue and at one point his deformed corpse is dropped from the roof – hanging by a noose. Things go from bad to worse when Lisa decides to explore the attic and someone or something throws a net over her – trapping her while a pack of deadly vipers attack the hysterical woman.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhznI6BEOZcv-aeeBJ5Kou_hbo_jEk5X0Hsj3WGwKWakxZVlc3BfEBgDAwuFJQzBWFw1YYN6wkUA45nA0SdA9D1KvHZY5bPiRwdtySr6Q0kiuYNBThbXxwLxkaJMgAkjCzBfZJidcWxygU/s1600/Mania+-+Net2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhznI6BEOZcv-aeeBJ5Kou_hbo_jEk5X0Hsj3WGwKWakxZVlc3BfEBgDAwuFJQzBWFw1YYN6wkUA45nA0SdA9D1KvHZY5bPiRwdtySr6Q0kiuYNBThbXxwLxkaJMgAkjCzBfZJidcWxygU/s400/Mania+-+Net2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge5i781uEuDCKZ0IPpQtfwqQQUPeosOoW0rk8J6KP_88FAXJhOgqmmgDNjr0GLRKd1flBsPuBGXlAy9k8xrUVSh-4D8lpf9QmlkMT9G2LqF309_gsxsYcV661VjSuMRxTHOhHd3rmQZZU/s1600/Mania+-+Net3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge5i781uEuDCKZ0IPpQtfwqQQUPeosOoW0rk8J6KP_88FAXJhOgqmmgDNjr0GLRKd1flBsPuBGXlAy9k8xrUVSh-4D8lpf9QmlkMT9G2LqF309_gsxsYcV661VjSuMRxTHOhHd3rmQZZU/s400/Mania+-+Net3.jpg" /></a></div> <i>Lisa is trapped in a net and attacked by snakes but, clearly, eels were used for the scene</i>
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Fortunately, Erina comes to Lisa’s aide and frees her from the net. Lisa is so grateful that she decides to repay Erina by giving her some lesbian love – forgetting all about poor Katia. The jealous Katia instead heads out to the garden and gets it on with Germano on top of his wheelchair.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKimAPXFFoRxPPlm9Fr6xjVlNdk5JN-CnkWLQthfmktiE2ZHvyRyk_nyBxUnnraC0sxkbJEgwv5IFh4M5uIBcd5s-uMk3eoRe-_2B7o2CmYTrDaNM435WJfB0LuWtg4kNV8I6D7SJz6HE/s1600/Mania+-+Wheelchair+Sex1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKimAPXFFoRxPPlm9Fr6xjVlNdk5JN-CnkWLQthfmktiE2ZHvyRyk_nyBxUnnraC0sxkbJEgwv5IFh4M5uIBcd5s-uMk3eoRe-_2B7o2CmYTrDaNM435WJfB0LuWtg4kNV8I6D7SJz6HE/s400/Mania+-+Wheelchair+Sex1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iOotaAaMyDzjJYB_9-aUy2O0o-CMy10Bn_P3GBd4SY-0TO57fjWxq3knoTCyEQoevU-6uV-JHFOGy9Yclqe6NWNxwublgC5R5ve9KZGpOwpHrYwjyRPT7Z7_7z8k63vWcyGbeSghC3I/s1600/Mania+-+Wheelchair+Sex2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iOotaAaMyDzjJYB_9-aUy2O0o-CMy10Bn_P3GBd4SY-0TO57fjWxq3knoTCyEQoevU-6uV-JHFOGy9Yclqe6NWNxwublgC5R5ve9KZGpOwpHrYwjyRPT7Z7_7z8k63vWcyGbeSghC3I/s400/Mania+-+Wheelchair+Sex2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgVXWfg4ej1U9vCNjxwBlxski6ONN1W-YJ-zx0VzAg8kjv-9c_54eAzhdRAJDbfZkZR7WbFGMcS-6jFsfQiezhIm8UjfRlOSqS86Vuh57sgbRfgGd2-thpTKj48fkyMFpQiuOGPigLxc/s1600/Mania+-+Wheelchair+Sex3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHgVXWfg4ej1U9vCNjxwBlxski6ONN1W-YJ-zx0VzAg8kjv-9c_54eAzhdRAJDbfZkZR7WbFGMcS-6jFsfQiezhIm8UjfRlOSqS86Vuh57sgbRfgGd2-thpTKj48fkyMFpQiuOGPigLxc/s400/Mania+-+Wheelchair+Sex3.jpg" /></a></div> <i>Katia and Germano have some fun in the wheelchair</i>
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However, Katia and Germano’s lovemaking is observed by Lisa, who begins to grow suspicious. She finds that the two of them look too intimate to have never met before and she furiously confronts Katia. A frightened Katia confesses that she and Germano have been working together all along – orchestrating letters, phone calls and apparitions of Brecht in order to drive Lisa mad. But it looks as if their plan might have worked a bit too well as Lisa has now gone completely bonkers, and in a fit of fury she gorily slashes Katia’s throat with a broken bottle.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQppGMx84krUjHJIPePiWPu2QgUsp3UHd33hCzc0doigPtt10nGJoiirHIawZ4FOzxIiHtBqKHiXxgAc5GkD2C7yUYFBEik4qx-IDGRtmIsYcbP-BKUCSFb6QrQpizGA_OX_iiO5UznA/s1600/Mania+-+Murder1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQppGMx84krUjHJIPePiWPu2QgUsp3UHd33hCzc0doigPtt10nGJoiirHIawZ4FOzxIiHtBqKHiXxgAc5GkD2C7yUYFBEik4qx-IDGRtmIsYcbP-BKUCSFb6QrQpizGA_OX_iiO5UznA/s400/Mania+-+Murder1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUwes8Tz_AJvqWoD2JR2otoz9v_3cZMla2XL_LnRAYL7-7nvJEB1LRH-YZyfDPcR9a8Q2G_BGZ0_n5qu3ejFtnx48BDSMV10uBBl5nAoEEQLdz8bScEylkbdqZzHD3xnCEWd59D0Y2sM/s1600/Mania+-+Murder2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUwes8Tz_AJvqWoD2JR2otoz9v_3cZMla2XL_LnRAYL7-7nvJEB1LRH-YZyfDPcR9a8Q2G_BGZ0_n5qu3ejFtnx48BDSMV10uBBl5nAoEEQLdz8bScEylkbdqZzHD3xnCEWd59D0Y2sM/s400/Mania+-+Murder2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpRkdT8LrSHMmS0klUcRPMQfjEC7tRtqHcGsj8aESYwhfOMQIfYJSdlYI5mDRupJllvkBmzMQsdjAFtcGu4b1hj9TgK2WY8OQI_qTHIi_NmToXGvVZhSKS6b3ISIqPCJM3RNSC1YudhTg/s1600/Mania+-+Murder3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpRkdT8LrSHMmS0klUcRPMQfjEC7tRtqHcGsj8aESYwhfOMQIfYJSdlYI5mDRupJllvkBmzMQsdjAFtcGu4b1hj9TgK2WY8OQI_qTHIi_NmToXGvVZhSKS6b3ISIqPCJM3RNSC1YudhTg/s400/Mania+-+Murder3.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM9WWg_FkVru4V0g-en0B7DFkCyk2GDlYoPahAV3IB8_uPqybU-Ud_qEHhiOqoyyl0FhcD_rFHO8BHUFfX4etYLBLAY39x-JtfYhzHKd1W4j4xF6sLIU9OpwzbH7auH3Bor4aK_-Ap23s/s1600/Mania+-+Murder4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM9WWg_FkVru4V0g-en0B7DFkCyk2GDlYoPahAV3IB8_uPqybU-Ud_qEHhiOqoyyl0FhcD_rFHO8BHUFfX4etYLBLAY39x-JtfYhzHKd1W4j4xF6sLIU9OpwzbH7auH3Bor4aK_-Ap23s/s400/Mania+-+Murder4.jpg" /></a></div> <i>Katia gets her comeuppance</i>
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Determined to find out once and for all if her husband really is dead, Lisa gets Erina to take her to the crypt, where she breaks open Professor Brecht’s tomb and finds his maggot-infested skeletal remains. But just then, the ghostly figure of Brecht’s charred corpse enters the crypt and menacingly approaches Lisa while asking her why she didn’t open the iron gate and save him from the fire.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxaK7BiO6F8DvsC0qKQsG_BTJO7qQgeoRWrSxP-yGemif8tGqTOzuIAvfJHL9ke8P-WwUL4R-4ovsDCRxJky92vRDfwSeYzx5lG7jLmgpq2uZvu5NdKJIhF67YO1xbykp35Vb8InHpFzs/s1600/Mania+-+Crypt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxaK7BiO6F8DvsC0qKQsG_BTJO7qQgeoRWrSxP-yGemif8tGqTOzuIAvfJHL9ke8P-WwUL4R-4ovsDCRxJky92vRDfwSeYzx5lG7jLmgpq2uZvu5NdKJIhF67YO1xbykp35Vb8InHpFzs/s400/Mania+-+Crypt1.jpg" /></a></div> <i>Erina and Lisa enter the crypt...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjzrfYVOFnZlKQHcHKqmps7nqtqU7nGNyMbcD89aD_buPw39tYbSn_AoZarG5elDXSogZaOgiY-0Wn458g-k2vnMHewsAD2FK7nIaCWe9UVClJsIDf5D-OZf7BB4u2rNxjPDdybnIf5rQ/s1600/Mania+-+Crypt2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjzrfYVOFnZlKQHcHKqmps7nqtqU7nGNyMbcD89aD_buPw39tYbSn_AoZarG5elDXSogZaOgiY-0Wn458g-k2vnMHewsAD2FK7nIaCWe9UVClJsIDf5D-OZf7BB4u2rNxjPDdybnIf5rQ/s400/Mania+-+Crypt2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95O66wbFiCzvCSF71LnjPAsczsXu8C765tgm76RcyFLG-kVHNgMbPGsi9RZptKQRU9XxXxIhUfTqP2GJd85fgyCN-RzB9h6KkmQt4jLC6qoybC3YwobmIQWFDpTmPpK0GcfEmVUQZNVM/s1600/Mania+-+Crypt3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95O66wbFiCzvCSF71LnjPAsczsXu8C765tgm76RcyFLG-kVHNgMbPGsi9RZptKQRU9XxXxIhUfTqP2GJd85fgyCN-RzB9h6KkmQt4jLC6qoybC3YwobmIQWFDpTmPpK0GcfEmVUQZNVM/s400/Mania+-+Crypt3.jpg" /></a></div> <i>... and unveil the tomb of Professor Brecht</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEftoxSgHoDADXPid_DgGzH02sqS9uCdPo4l7B_Sdj66QuwQbJtmQe4rfFOGotX1agcGOxrsTq3ilXhnFiBbSgKpWzTpXMzL9vV6w_kBkOjGv2EL8LS1NrAVTb5o5VAOHvVCb3CEqUhwA/s1600/Mania+-+Ghost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEftoxSgHoDADXPid_DgGzH02sqS9uCdPo4l7B_Sdj66QuwQbJtmQe4rfFOGotX1agcGOxrsTq3ilXhnFiBbSgKpWzTpXMzL9vV6w_kBkOjGv2EL8LS1NrAVTb5o5VAOHvVCb3CEqUhwA/s400/Mania+-+Ghost.jpg" /></a></div> <i>The professor’s ghostly figure</i>
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It is then that the truth is finally revealed: it was not Brecht but Germano who burned to death in the fire and whose corpse rests in the tomb. Brecht is still very much alive – having assumed his dead brother’s identity and faking paralysis and disfigurement. He has never forgiven his wife for her infidelity and at last it is time for the final phase of the mad scientist’s revenge...
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhADRkHw7Ho4nMfWejAmf7SpBzW4pKfyOVs5T9p_wF-u_xHNG21Ferk6P2tNbPqLoDBzEMY8MzTe6ahrPa1KUpdNr-_tjrFRmauzzuVMrDlvW469ggmPSeb2fWZMKejtQwNgdN7I3nYEKc/s1600/Mania+-+Crazy+Brecht.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhADRkHw7Ho4nMfWejAmf7SpBzW4pKfyOVs5T9p_wF-u_xHNG21Ferk6P2tNbPqLoDBzEMY8MzTe6ahrPa1KUpdNr-_tjrFRmauzzuVMrDlvW469ggmPSeb2fWZMKejtQwNgdN7I3nYEKc/s400/Mania+-+Crazy+Brecht.jpg" /></a></div> <i>The maniacal Professor Brecht reveals himself to be still alive</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZVQSmyH9hWfoN1WhaJSM3hYn8ISAEvp1b8CMH6Gb8UAyaenZG1r5JvAQVCx562ZmAo4jWxeay-KGRBkuwPwQLRS0Lj7TDXI0B42RVCjz7vGWPMEOY2evqT9Mg7DDtGMJIgsZXyN0aZg/s1600/Mania+-+Terror1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZVQSmyH9hWfoN1WhaJSM3hYn8ISAEvp1b8CMH6Gb8UAyaenZG1r5JvAQVCx562ZmAo4jWxeay-KGRBkuwPwQLRS0Lj7TDXI0B42RVCjz7vGWPMEOY2evqT9Mg7DDtGMJIgsZXyN0aZg/s400/Mania+-+Terror1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_W5eiY0EnkeQI6O729Vv1jyJZ7EKY4hHIAfXm5gTawz5Re06DAsh28rfoj5-VQyWe3xyopFLIS4eVVs4DeW4lmXUZ5lBwQQfqSElE7seMMQ201m3lTmRdAGS7lnspkYlvHv1k5-jrZ0/s1600/Mania+-+Terror2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_W5eiY0EnkeQI6O729Vv1jyJZ7EKY4hHIAfXm5gTawz5Re06DAsh28rfoj5-VQyWe3xyopFLIS4eVVs4DeW4lmXUZ5lBwQQfqSElE7seMMQ201m3lTmRdAGS7lnspkYlvHv1k5-jrZ0/s400/Mania+-+Terror2.jpg" /></a></div> <i>Erina and Lisa are tortured by the deranged professor</i>
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I think I’ll stop there and not give the <i>entire</i> film away. It must be said, though, that the big reveal that it wasn’t Professor Brecht but his twin brother who died in the fire does not come as much of a surprise at all. But then again the plot – which is partly similar to the Polselli-scripted erotic thriller <i>Giochi erotici di una famiglia per bene</i> (made in 1971 but released in 1975) – is not really what makes <i>Mania</i> interesting anyway. It is first and foremost its style, atmosphere and all-around craziness that makes it stand out. As evidenced by the trailer, the film boasts an awesome acid rock soundtrack, classic 1970s style shock zooms, bizarre and hallucinatory imagery and delirious hysteria. Brad Euston as the maniacal Professor Brecht and Eva Spadaro as the unbalanced Lisa both put on a delightful, no holds barred display of hysterical, eye-rolling camp histrionics that is right up there with Mickey Hargitay and Rita Calderoni’s work in <i>Delirium</i> (1972), Polselli’s probably best known film.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbLrF4Q3Hxtd-VJW1OHejFRsdWKCr9D5e_t1G_ikaL22egLzla-DhuZnhM0Ed5XlG94DoFZ7RXH2GgCYfALbOClsmt4XF5w9G4mbVmU77UPDkVIx5RD_EI4pCuc0gc1axD4MOeZhTVw8/s1600/Mania+-+Spadaro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbLrF4Q3Hxtd-VJW1OHejFRsdWKCr9D5e_t1G_ikaL22egLzla-DhuZnhM0Ed5XlG94DoFZ7RXH2GgCYfALbOClsmt4XF5w9G4mbVmU77UPDkVIx5RD_EI4pCuc0gc1axD4MOeZhTVw8/s400/Mania+-+Spadaro.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mHDZRHUBB8nPqLIMKpSetuAsy8BdW2YXFonH1xL6MddSdxUbsaUBGvEfVVM9tRaPVSgBHQPHg5UV4QeFVw7xvw3mfl-8M4zfpbAIUv7rbQNUvkPiTYBQDRV_Y7us35EpkOomuMy5KDA/s1600/Mania+-+Spadaro2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mHDZRHUBB8nPqLIMKpSetuAsy8BdW2YXFonH1xL6MddSdxUbsaUBGvEfVVM9tRaPVSgBHQPHg5UV4QeFVw7xvw3mfl-8M4zfpbAIUv7rbQNUvkPiTYBQDRV_Y7us35EpkOomuMy5KDA/s400/Mania+-+Spadaro2.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIYnq7SDN7jtD2a7Wqv74koekD-Ub56PVwj0qyVXebKM6nB31wvYZ5GJdqo2-TbTRdz05YB0-l661nlhtMi2x7buyJD2DnPS9pgA39cQwfgwjkOIdT6sgXl5mhwg8j9GdKS3iCGJ4IS8I/s1600/Mania+-+Euston.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIYnq7SDN7jtD2a7Wqv74koekD-Ub56PVwj0qyVXebKM6nB31wvYZ5GJdqo2-TbTRdz05YB0-l661nlhtMi2x7buyJD2DnPS9pgA39cQwfgwjkOIdT6sgXl5mhwg8j9GdKS3iCGJ4IS8I/s400/Mania+-+Euston.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggxasYqY8pRidbyKLYVz72eSU-prb4hN__tYBpn_SxBNyiBytvlVadenUNgGK10Yk0-NF8hugvLk85QgWgwaJWucaJk0jPDZyODZb6dGxqZQX5b3orUhOJenB5o6US3mA9OiuJ0yy3RSw/s1600/Mania+-+Euston2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggxasYqY8pRidbyKLYVz72eSU-prb4hN__tYBpn_SxBNyiBytvlVadenUNgGK10Yk0-NF8hugvLk85QgWgwaJWucaJk0jPDZyODZb6dGxqZQX5b3orUhOJenB5o6US3mA9OiuJ0yy3RSw/s400/Mania+-+Euston2.jpg" /></a></div> <i>Eva Spadaro and Brad Euston both go all out in their performances</i>
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Another vital part of the film is its strong emphasis on graphic displays of lesbianism, masturbation and sexual sadism – or at least it was as the film was originally conceived. Reports have indicated that the print held by the Cineteca Nazionale shown in May 2007 is a cut version shorn of graphic sex scenes. The reason why the photo-novel is much more graphic is because the photo-novel publishers usually received copies of the films <i>before</i> they were sent to the censor board and any cuts were imposed, and thus a lot of the photo-novels printed in the likes of Cinesex and Cinestop feature graphic scenes that are missing from the release version of the films. The <i>Mania</i> photo-novel strongly emphasizes the sexual content and these sequences are far more detailed than the non-sexual scenes. A lot of space is devoted to Lisa and her lesbian encounters with both Katia and Erina, but also to Brecht’s sadistic molestation of Erina. However, the <i>pièce de résistance</i> is no doubt Erina’s bottle masturbation while spying on Lisa and Katia, which the photo-novel devotes no less than 10 full pages to. But because the Cineteca Nazionale print is believed to be the only surviving print of the film, the steamier scenes cut from this version are probably lost forever.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjMWk6xwDXU5vxZwQS3SaDuhkxfI1g5sQXTlBo8k9bLVqh-9tMbwbC2AxpalzL3co-MWALRM3dumF7ftJTfd99gGC50hsKAIbe57WHegSh6iCreCn3Zb_F5jG7fApD_P8_K7Sf-9UB9U/s1600/Mania+-+Forbidden1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjMWk6xwDXU5vxZwQS3SaDuhkxfI1g5sQXTlBo8k9bLVqh-9tMbwbC2AxpalzL3co-MWALRM3dumF7ftJTfd99gGC50hsKAIbe57WHegSh6iCreCn3Zb_F5jG7fApD_P8_K7Sf-9UB9U/s400/Mania+-+Forbidden1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOWII399vuC5lJ7GVhIFcG3Ybtch_b1L3mg7BpxlxPnFljYpJMCGatR__1TsUM7fGcrmuoNQt1gz0G3xNTVZ747gthuEypFiReuw3JYnlurjz18WHNlUifPXlMPfKg0BXG5sKfgsRDBE/s1600/Mania+-+Forbidden2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOWII399vuC5lJ7GVhIFcG3Ybtch_b1L3mg7BpxlxPnFljYpJMCGatR__1TsUM7fGcrmuoNQt1gz0G3xNTVZ747gthuEypFiReuw3JYnlurjz18WHNlUifPXlMPfKg0BXG5sKfgsRDBE/s400/Mania+-+Forbidden2.jpg" /></a></div> <i>This lesbian interlude between Erina and Lisa is just one of many steamy scenes from the film which are now probably lost forever</i>
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Interestingly, it appears as though the photo-novel’s strong focus on sexual scenes has led to the omission of several other sequences as the theatrical trailer features numerous bits and pieces that are missing outright in the photo-novel. One of the most notable examples of this is a scene in which poor Erina is tortured by being run over with a wheelchair.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlwx9yTef5DrCx-VOJfJw3Klv62k7QFCrPsNZrRkF_Ezvj6YZZcd2mAoWh03Pb7yug6xAI5yJsl0pXZhgPKdjKGMR7FJ3BU8kXDQiWyOu2pb7CUhb8vJ6qAxxK-FToMsKTHVbQzEZVHpU/s1600/Mania+-+Wheelchair+Torture1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlwx9yTef5DrCx-VOJfJw3Klv62k7QFCrPsNZrRkF_Ezvj6YZZcd2mAoWh03Pb7yug6xAI5yJsl0pXZhgPKdjKGMR7FJ3BU8kXDQiWyOu2pb7CUhb8vJ6qAxxK-FToMsKTHVbQzEZVHpU/s400/Mania+-+Wheelchair+Torture1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivXIQKUj-Qx1wshYvu9VDhCAEe9fLxj4O2V0UxxDkeKv4TV1tNeag8avtBsC2PBIqZwx1xovwY4x6eKaNx4lXk2seOvJ_dj704KrCUJUJrvaoVT-Anu8JxUBUOqsxg8Y_9nmMk-MipBng/s1600/Mania+-+Wheelchair+Torture2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivXIQKUj-Qx1wshYvu9VDhCAEe9fLxj4O2V0UxxDkeKv4TV1tNeag8avtBsC2PBIqZwx1xovwY4x6eKaNx4lXk2seOvJ_dj704KrCUJUJrvaoVT-Anu8JxUBUOqsxg8Y_9nmMk-MipBng/s400/Mania+-+Wheelchair+Torture2.jpg" /></a></div> <i>Erina is tortured with a wheelchair</i>
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The scene where Professor Brecht’s charred remains hanging from a noose are dropped from the floor is also missing entirely from the photo-novel, as is the scene where Katia and Erina are frightened by the ghostly see-through figure of the laughing Brecht, a bizarre sequence featuring a rampant phantom car with no driver, as well as several other bits.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwgTUocjAGjjowC-wN96D3o5Rv1KGYZrYfOTKfE8_vkT4eV23TUR7vbcWUSiigNAEsAXa71QssPkyAaXIF7Iphpikg9fROvnp1wCwDCmcHkbjfdgYkIQnlJC7CFinoJCDyhS-pQtFR6WU/s1600/Mania+-+Hanged+Corpse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwgTUocjAGjjowC-wN96D3o5Rv1KGYZrYfOTKfE8_vkT4eV23TUR7vbcWUSiigNAEsAXa71QssPkyAaXIF7Iphpikg9fROvnp1wCwDCmcHkbjfdgYkIQnlJC7CFinoJCDyhS-pQtFR6WU/s400/Mania+-+Hanged+Corpse.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8urCSw8Iq8XYJzFRTVV8hxi7R0fPc-k_Lgb9rOtbBNOk4qtJKvQmR-N15SivzF-LdLG4H3Th3JRIGjU2TwkTgpp889-CZsAetGmM4xsKHEpUc3NJgVPk9BOiSd7JVu0zlcoYJFgHSf5g/s1600/Mania+-+Ghostly+Figure.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8urCSw8Iq8XYJzFRTVV8hxi7R0fPc-k_Lgb9rOtbBNOk4qtJKvQmR-N15SivzF-LdLG4H3Th3JRIGjU2TwkTgpp889-CZsAetGmM4xsKHEpUc3NJgVPk9BOiSd7JVu0zlcoYJFgHSf5g/s400/Mania+-+Ghostly+Figure.jpg" /></a></div> <i>Two scenes missing from the photo-novel version</i>
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There is also some confusion regarding the role of Lisa’s boyfriend, Lailo, played by Isarco Ravaioli, a familiar face to Polselli fans having first acted for the director in his gothic horror film <i>The Vampire and the Ballerina</i> (1960). Plot summaries of <i>Mania</i> describe Lailo as being one of Professor Brecht’s research assistant but he is not depicted as such in the photo-novel. On the contrary he is shown to be unaware of Lisa’s past – hence her recounting her traumatic past to him in flashbacks. In the photo-novel, Lailo disappears at this point and does not resurface until near the end when he shows up at the villa with Lisa’s psychiatrist. He appears to figure more prominently in the actual film, however, and the trailer includes a scene where Lisa sneaks up on Lailo and knocks him down by bashing him over the back of the head with a heavy candelabra.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgby2bJuFfxw-nSLp8lE3tCIYw3ytzJ9IG9RSbF2dUHuM_EbiYnJIKDM1Ghxcbp3adsmimDwD94pL0oN-BNvEVrCBUHGT5CPQIJqyI1oqgvny8VBeqruJX7LoTeXvf4VSWrbd7tY4dYzr4/s1600/Mania+-+Lailo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgby2bJuFfxw-nSLp8lE3tCIYw3ytzJ9IG9RSbF2dUHuM_EbiYnJIKDM1Ghxcbp3adsmimDwD94pL0oN-BNvEVrCBUHGT5CPQIJqyI1oqgvny8VBeqruJX7LoTeXvf4VSWrbd7tY4dYzr4/s400/Mania+-+Lailo.jpg" /></a></div> <i>Isarco Ravaioli as Lailo</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTpE1UeJcFWDEJPp-qbeVOv7oL-fOmbuHwEFq8mEqPQtP6KGIKfeh5EoQucyA60Z3GxH3fNtdxvZ-tle3W9ZWhgNjuAqcUxkcSJtVOd-dDKYt2Y-kRrxi2V-A6uHeKpIWNU7XMzUwizZE/s1600/Mania+-+Candelabra1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTpE1UeJcFWDEJPp-qbeVOv7oL-fOmbuHwEFq8mEqPQtP6KGIKfeh5EoQucyA60Z3GxH3fNtdxvZ-tle3W9ZWhgNjuAqcUxkcSJtVOd-dDKYt2Y-kRrxi2V-A6uHeKpIWNU7XMzUwizZE/s400/Mania+-+Candelabra1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeqikVpcuVd2hNa9svbOVxvmiU6YMb7UHLuf5paPx0o0dxyGiswffknVqR-JMszemKr0ap7_6hn9fapNOcA8ntjb0xqlhh27_AR2pf34k849D06-kwkXh0F3YhZkHAt3V5zyx9DitX25o/s1600/Mania+-+Candelabra2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeqikVpcuVd2hNa9svbOVxvmiU6YMb7UHLuf5paPx0o0dxyGiswffknVqR-JMszemKr0ap7_6hn9fapNOcA8ntjb0xqlhh27_AR2pf34k849D06-kwkXh0F3YhZkHAt3V5zyx9DitX25o/s400/Mania+-+Candelabra2.jpg" /></a></div> <i>Yet another scene missing from the photo-novel</i>
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One wonders what <i>Mania</i> as it was originally intended by Polselli looked like, but sadly, we’ll probably never know the answer to this as Polselli’s original version of the film is presumably lost forever. Still, it would be fantastic to just see this fabled film in <i>any</i> shape or form, so here’s hoping that the censor’s approved print held by the Cineteca Nazionale will be made available soon. It’s about time now!
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© 2013 Johan Melle
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Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-46724157125268337832013-03-09T13:20:00.002-08:002018-02-19T11:24:56.533-08:00La casa de las muertas vivientes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNf0tG7teOZIGtWPQ4mVC1CfXgf3VuIM0XmKuJdWj2YbnskNOQpXli1ccxKal-Vgq1OTKq0t1Ypw6y8-IG0R09i7ycpvTq5O85W2d3OpGSuuzkQrR-wkqNVG3gxgIb3Zv-U_8LjX0YZOc/s1600/Muertas+Vivientes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNf0tG7teOZIGtWPQ4mVC1CfXgf3VuIM0XmKuJdWj2YbnskNOQpXli1ccxKal-Vgq1OTKq0t1Ypw6y8-IG0R09i7ycpvTq5O85W2d3OpGSuuzkQrR-wkqNVG3gxgIb3Zv-U_8LjX0YZOc/s400/Muertas+Vivientes.jpg" width="400"></a></div>
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<b>Spain/Italy, 1972
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Directed by Alfonso Balcazar
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Cast:
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José Antonio Amor, Daniela Giordano, Nuria Torray, Teresa Gimpera, Gioia Desideri, Osvaldo Genazzani, Alicia Tomás, Carlo Gentili</b>
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It recently dawned on me that for the longest time I’ve been reviewing nothing but Italian movies here, even though there are so many strange and wonderful films from Spain, France, Germany etc out there that are equally worthy of rediscovery. So to make amends I have taken a closer look at the forgotten Spanish thriller <i>La casa de las muertas vivientes</i>.
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The plot deals with Oliver Bromfield (José Antonio Amor), a handsome but alcoholized young aristocrat who is haunted by the tragic death of his wife Helen (Gioia Desideri). Unable to continue living in the large country mansion he had shared with Helen, Oliver leaves his home in an attempt to forget the past. But he hasn’t been away very long before he finds a new love, the sweet and sexy Ruth (Daniela Giordano), whom he promptly marries. Suddenly, Oliver decides it would be a good idea to move back to his old house and build a new life together with Ruth.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HU6W_EJxW1FHGPaDgfpOAo96iXKyFEsjvT1rptmPWYYyoW0dJl1I-CjMYHbcs4PL-sFNCx_rNb90dcPSu0oOhawA0XZ9w1RSui69SnL6IWxyqR7z5mcuwWuSP6NLag9ConSG2z1klEg/s1600/Muertas+Vivientes+-+Newlyweds.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HU6W_EJxW1FHGPaDgfpOAo96iXKyFEsjvT1rptmPWYYyoW0dJl1I-CjMYHbcs4PL-sFNCx_rNb90dcPSu0oOhawA0XZ9w1RSui69SnL6IWxyqR7z5mcuwWuSP6NLag9ConSG2z1klEg/s400/Muertas+Vivientes+-+Newlyweds.jpg" width="400"></a></div>
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<em>The newlyweds</em>
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Ruth is excited about moving into a new home but she’s a bit disappointed to discover that Oliver’s huge mansion is far more secluded than she had pictured. Things aren’t made any better by the fact that she is given a decidedly chilly welcome by Sarah (Nuria Torray), the widow of Oliver’s father. Oliver’s stepmom is actually not that much older than him, and she greets him with an inappropriately passionate kiss on the cheek while giving poor Ruth the evil eye. Sarah is also quick to point out that today is the anniversary of Helen’s death, which visibly upsets Oliver.
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<i>Stepmom marks her territory</i>
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It quickly transpires that Sarah is madly in love with her stepson and she’s terribly jealous of Ruth. At day, she tries her best to drive Ruth and Oliver apart, and at night she spies on their lovemaking through a secret hole in the wall – obscured by a pendulum clock.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVEPEXEccQ0DnDOHMDavUOiHTk08oGIRUxwafGdY_vbQHHYtg9ehOafVRpWPJWJZUs1bR3h131Doe6wuN2QkmL3vldu0It7AkUfxU0e_aFG-RGcXxOHNh1c_EaPLF6U6uEB87Dg3sTWg/s1600/Muertas+Vivientes+-+Spying3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVEPEXEccQ0DnDOHMDavUOiHTk08oGIRUxwafGdY_vbQHHYtg9ehOafVRpWPJWJZUs1bR3h131Doe6wuN2QkmL3vldu0It7AkUfxU0e_aFG-RGcXxOHNh1c_EaPLF6U6uEB87Dg3sTWg/s400/Muertas+Vivientes+-+Spying3.jpg" width="400"></a></div>
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<em>I spy with my little eye...</em></div>
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Also living in the house is Oliver’s sister Jenny (Teresa Gimpera), a reclusive painter and sculptor, who – like Sarah – takes an instant dislike to Ruth. Not for the same reasons, however. Jenny, we learn, had been carrying on a lesbian affair with Helen, and she hates the idea of someone else taking over Helen’s role as the lady of the house.
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<i>Jenny laments the loss of her lesbian lover</i>
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Poor Ruth doesn’t exactly feel very welcome in the house, and things quickly go from bad to worse as Oliver starts being haunted by memories of his dead wife. He’s drinking heavily and at night he has nightmares about Helen’s mysterious death from falling down the stairs. In his sleep he even shouts out that “I didn’t mean to kill her!”
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<i>Oliver has recurring nightmares about Helen’s death</i>
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Naturally, all of this has Ruth getting pretty worried. Oliver has told her that Helen fell because she was suffering from a series of dizzy spells but she soon learns from Helen’s physician, Dr. Roberts (Carlo Gentili), that Helen had no history of dizziness. As Ruth continues to look into Helen’s death, strange things start happening to her. Clearly, there is someone who doesn’t want the truth about Helen’s death to be revealed. Could it be that Oliver killed his wife because he was jealous of her lesbian affair with Jenny? Or was it the obsessively jealous Sarah who wanted Oliver all to herself? Or could the suspiciously acting Jenny be responsible?
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<i>Who’s the killer?</i>
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<i>La casa de las muertas vivientes</i> is a thoroughly obscure little Spanish-Italian co-production and there appear to be very few people who have heard about it – much less actually seen it. The film was released under a series of different titles in Spain and Italy – none of which suit it particularly well. The original Spanish title translates to ‘The House of the Living Dead’, which is highly inappropriate as this is by no means a zombie film, and it never really pursues any supernatural angle either. The Italian title <i>Una tomba aperta... Una bara vuota</i> – i.e. ‘An Open Tomb... An Empty Coffin’, the title used by most of the bootleggers who sell it – is just as unsuitable because the film features neither opened tombs nor empty coffins, or any other kind of beyond the grave shenanigans for that matter. The alternate Italian title <i>Il cadavere di Helen non mi dava pace</i> – i.e. ‘Helen’s Cadaver Gives Me No Peace’ – is probably the most suitable since Oliver being haunted by memories of Helen’s death is a vital part of the plot, but it still hints at a type of film that this certainly isn’t.
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<i>Stylish newspaper ad under the film’s alternate Italian title</i>
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The misleading and inappropriate titles are probably part of the reason why most of the people who have actually seen the film react negatively to it. Anyone expecting to see some kind of zombie movie or ghost story will be sorely disappointed, and those seeking a flashy and gory Argento-style giallo will not get their money’s worth either. It is important to point out that even though this was an Italian co-production, it is ostensibly a Spanish film, and like many other Spanish productions, <i>La casa de las muertas vivientes</i> is more rustic and old-fashioned in appearance than its stylized Italian counterparts. Giallo elements are certainly present – with a knife-wielding, black-gloved killer coming into play in the last third – but these seem like more of an afterthought and the film draws more on Hitchcock’s <i>Rebecca</i> (1940) than it does on Argento. I think the best way to describe the film is like a deliberately paced Spanish psycho-drama with a gialloesque final third. If you approach it as such, you are more likely to appreciate the film.
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With that said, <i>La casa de las muertas vivientes</i> is still a problematic film in many ways. The story is credited to the director, Euro-western expert Alfonso Balcazar, and José Ramón Larraz, the Spanish director famous for his British-made horror films <i>Scream and Die!</i> (1973), <i>Symptoms</i> (1974) and <i>Vampyres</i> (1974). This appears to have been the first Spanish film Larraz worked on and the plot features several of his characteristic traits, including the secluded country house setting, repressed sexual desires, and intense claustrophobic relationships. It’s just too bad that Larraz didn’t write the actual screenplay, which was instead penned by Balcazar and Italian Eurospy scribe Giovanni Simonelli. Unfortunately, neither of them appear to feel quite at home within the thriller format. Saving all of the killings for the final third is fair enough, but a few more suspense sequences scattered throughout the first two thirds would definitely not have hurt. As it is, the film is too talky and generously paced to keep the interest up for the duration of the film. It must be said, though, that the occasionally waning interest has just as much – if not more – to do with the characters. Oliver is a pretty boring protagonist, and José Antonio Amor’s blank and inexpressive performance fails to ignite any sort of interest for the character. Daniela Giordano on the other hand is perfectly fine in the role of Ruth but the character is so poorly written and developed that it is hard to become particularly invested in her.
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The only really interesting characters are Oliver’s sister and stepmother. These sexy and constantly chain-smoking figures are better fleshed out and their dark and mysterious nature makes them very intriguing. They are also very well played, with the always welcome Teresa Gimpera – a familiar face from numerous interesting Spanish-Italian horrors including <i>The Feast of Satan</i> (1971) and <i>Night of the Devils</i> (1972) – giving a wonderful performance as the mysterious lesbian sister who is obsessed by the memory of her dead lover. However, the show is stolen by the sensuous Nuria Torray, who is absolutely terrific as the unbalanced and obsessively jealous Sarah. She’s very sexy in the scenes which require her to act catty or seductive, but Torray is at her very best when she gets to tackle the sinister sides of the character. Her obsessive spying on Oliver and Ruth through the peephole is a good example but the best part is when she has a warped fantasy in which she stabs a sleeping Ruth to death, pushes her out of the bed, wipes her bloody hands on her nightgown and then jumps into the bed to resume Ruth’s place next to Oliver. Torray comes across as thoroughly disturbed and creepy in these scenes, but at the same time she is able to convey a truly heartfelt desperation, which renders the character somewhat pitiful too.
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<i>Nuria Torray is fabulous as the disturbed stepmother</i>
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Technical credits are solid – boasting some attractive cinematography and art direction, as well as a fine score by Italian composer Piero Piccioni – but the most memorable aspect to the film is its atmosphere. Balcazar successfully imbues the story with an air of morbidness as all of the characters seem obsessed in one way or the other with the death of Helen. The more perverse material in the plot is expertly handled, with the stylishly shot sequences detailing Sarah’s voyeurism coming across as delightfully twisted. Throughout the film there’s a strong aura of unease, repressed emotions and sexual tension seaming through the dysfunctional household and this keeps it all interesting even though if the plot progresses slowly.
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In the last 30 minutes, the film finally goes into giallo mode as the cast starts getting picked off by a mysterious black-gloved killer who gorily slashes their throats. As I’ve already mentioned, this plot point seems like somewhat of an afterthought – presumably added at the insistence of the Italian co-producers. It undeniably shakes things up a bit and adds some welcome frisson to the proceedings but not all of the murders are quite successfully staged. It should also be mentioned that the identity of the killer is not too hard to figure out, and the rushed finale, which is more or less over and done with in a matter of seconds, is disappointing.
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<i>The horror kicks in during the final act</i>
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In spite of its obscurity <em>La casa de las muertas vivientes</em> is not too hard to get hold of but as of now there is no definite version available. A Spanish DVD was released by Filmax, and this release features a good-looking widescreen (albeit non-anamorphic) transfer of the film. The disc features no English options but has been made available in a fan-subbed version among collectors. It is unfortunate, however, that this is the version most people have been exposed to because it is far from an ideal way to watch the film. In the 1970s, the strict Spanish film censorship did not allow nudity, so Spanish productions from this era usually shot two versions of a film’s sexy scenes: a “clothed” one where the actors are covered up by nightgowns or underwear, and an “unclothed” one in which the actors get naked. The clothed variants were released in Spain, while the steamier unclothed versions would be exported to foreign markets with more relaxed censorship policies. The print of <em>La casa de las muertas vivientes</em> featured on the Filmax DVD is the Spanish version and – as expected – it is shorn of all nudity. A stronger version with nude scenes does exist, however, and was released in Italy but it has yet to receive any sort of DVD release. There is a TV rip in circulation, though, and while it is cropped, has a logo in the lower right corner and generally looks a lot less impressive than the Spanish DVD, it is still worth watching since it not only adds nudity but also entire scenes missing from the Spanish print. I have compared the two versions and here is an overview of the differences between the Spanish and Italian cuts of the film:
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<b>1.</b> The Italian version obviously has credits in Italian – displaying the title <i>Una tomba aperta... Una bara vuota</i> in bold red letters. If you look closely, you’ll notice that the alternate title <i>Il cadavere di Helen non mi dava pace</i> is printed in smaller letters at the bottom of the screen.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKI5Y7nqhKJuHyz0ViI59aRNy35g61nWBjZZpuW6iuue0ljGiaxMREkVr15Cd0IkcNkf218JSt5EPUJcTyLoMe30mNoNh3jDpulVreIOfdPUfbN-1TnU2rQuVQ_CMLCdeEfOqVaBX39o/s1600/Muertas+Vivientes+-+Italian+Title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKI5Y7nqhKJuHyz0ViI59aRNy35g61nWBjZZpuW6iuue0ljGiaxMREkVr15Cd0IkcNkf218JSt5EPUJcTyLoMe30mNoNh3jDpulVreIOfdPUfbN-1TnU2rQuVQ_CMLCdeEfOqVaBX39o/s400/Muertas+Vivientes+-+Italian+Title.jpg" width="400"></a></div>
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<i>The Italian title card</i>
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<b>2.</b> In the Italian cut, each murder is followed by a rapid montage of still shots of the various characters – clearly signaling them as possible suspects. This is a very unwelcome addition that looks cheesy and silly. It plays out much better in the Spanish version, which does not include these shots.
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<b>3. </b>After the scene of Helen’s funeral, the Italian version features an extra pre-credits scene in which Oliver announces to Sarah that he’s moving out of the house, and she tries in vain to dissuade him from leaving. The scene runs 2 minutes and 26 seconds, and while it introduces Sarah’s feelings for Oliver at an earlier point than the Spanish version, it doesn’t really add anything new to the proceedings.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDxSlzSLPbPgtOUTkmSKHabyXkmjn3crFTdZ_jp7Bn8hbifpd5xfCve9J2aW0neBDibCsj-OYqzjafgVk6md0iexM1JnH5y2-_w-XkjAKdKAPWgsCdxXDSitSNXk3wq0uGISd1GDAnBGw/s1600/Muertas+Vivientes+-+Extra+Italian+Scene1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDxSlzSLPbPgtOUTkmSKHabyXkmjn3crFTdZ_jp7Bn8hbifpd5xfCve9J2aW0neBDibCsj-OYqzjafgVk6md0iexM1JnH5y2-_w-XkjAKdKAPWgsCdxXDSitSNXk3wq0uGISd1GDAnBGw/s400/Muertas+Vivientes+-+Extra+Italian+Scene1a.jpg" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvOooXx5km9Y-36QppjqX-Tp41i4ItST5Kvx1DRrUXlSInBw9ix56Ya-BvtpY3TAIDQ63iBwunjKtbHuhflHnlgMthspfcH79Lg-iAt4LKxM5uSMdHFTiU6suJAGb-qJHpuH9xEhCZai0/s1600/Muertas+Vivientes+-+Extra+Italian+Scene1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvOooXx5km9Y-36QppjqX-Tp41i4ItST5Kvx1DRrUXlSInBw9ix56Ya-BvtpY3TAIDQ63iBwunjKtbHuhflHnlgMthspfcH79Lg-iAt4LKxM5uSMdHFTiU6suJAGb-qJHpuH9xEhCZai0/s400/Muertas+Vivientes+-+Extra+Italian+Scene1b.jpg" width="400"></a></div>
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<i>Extra scene between Oliver and Sarah</i>
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<b>4.</b> The lesbian relationship between Jenny and Helen is more explicit in the Italian version. The flashback scene where Oliver catches them together is very tame in the Spanish version – with Oliver walking in as Helen is merely caressing Jenny’s hair. In the Italian cut, however, Helen pulls down her nightgown to expose her breasts, and the two women press up against each other as Oliver suddenly walks in on them. This situation is a lot more compromising, and consequently Oliver’s angered reaction comes across as much more justified here than it does in the Spanish cut.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAWHp3_VRn3z0NHUJEfjpsXzZrk5IH23WYuvChFVhRFuy9JpD7oFQp4GrAOCGXZ3QiYCqcdhQ0RpHekuxzKmk_Wnz_5zLOQm0jWGVgNV8lV-oJzJR-SnN2pDPOHx-Gbqlmu5MeTcJG1B4/s1600/Muertas+Vivientes+-+Spanish+Lesbianism.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAWHp3_VRn3z0NHUJEfjpsXzZrk5IH23WYuvChFVhRFuy9JpD7oFQp4GrAOCGXZ3QiYCqcdhQ0RpHekuxzKmk_Wnz_5zLOQm0jWGVgNV8lV-oJzJR-SnN2pDPOHx-Gbqlmu5MeTcJG1B4/s400/Muertas+Vivientes+-+Spanish+Lesbianism.jpg" width="400"></a></div>
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<i>This is as steamy as it gets in the Spanish version</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-531tbXtaKBtttgBNs_6eIbwvMUk_Q2b164Vf0zsCM7Ox9VZMo7i5SK3UsGDKTAM0RpOLs8So0eO8SJZdQY4S1yclTzs4YP9noDBSU8c_QbpU22ll0Lt7R2Le59IvtZ-NqD31DneDOU/s1600/Muertas+Vivientes+-+Extra+Lesbianism1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-531tbXtaKBtttgBNs_6eIbwvMUk_Q2b164Vf0zsCM7Ox9VZMo7i5SK3UsGDKTAM0RpOLs8So0eO8SJZdQY4S1yclTzs4YP9noDBSU8c_QbpU22ll0Lt7R2Le59IvtZ-NqD31DneDOU/s400/Muertas+Vivientes+-+Extra+Lesbianism1.jpg" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEnYUIm9PtpReXw3LlhjnEBcxeS31BoJE-FavytDEHhNcxh9yRz61H4DfeuAGC5S5bR0Q15w9xpaLihr0QgwSoGaWOltE-UNzBFp7ri-00h9p0wTy1o34X6Vc3K0yKTRy5MPCdlEq_xIM/s1600/Muertas+Vivientes+-+Extra+Lesbianism2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEnYUIm9PtpReXw3LlhjnEBcxeS31BoJE-FavytDEHhNcxh9yRz61H4DfeuAGC5S5bR0Q15w9xpaLihr0QgwSoGaWOltE-UNzBFp7ri-00h9p0wTy1o34X6Vc3K0yKTRy5MPCdlEq_xIM/s400/Muertas+Vivientes+-+Extra+Lesbianism2.jpg" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9hAhjk3KrQUCUq9DOkBtasX3Tww_GsPIGCKia9Nib4ff77d-eyzXktDClcjAkc7ZbL-YM7A4ZivTww3wIgJcIRfrLSGZuGleTV_oVj8Ug7EDOddxnJ8RjFpYGV8t7xTo30u0apey-jHY/s1600/Muertas+Vivientes+-+Extra+Lesbianism3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9hAhjk3KrQUCUq9DOkBtasX3Tww_GsPIGCKia9Nib4ff77d-eyzXktDClcjAkc7ZbL-YM7A4ZivTww3wIgJcIRfrLSGZuGleTV_oVj8Ug7EDOddxnJ8RjFpYGV8t7xTo30u0apey-jHY/s400/Muertas+Vivientes+-+Extra+Lesbianism3.jpg" width="400"></a></div>
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<i>The extra naughty bits from the Italian version</i>
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<b>5.</b> The Italian version also includes an extra flashback scene between Jenny and Helen which is completely absent from the Spanish cut. In this scene, Helen strips naked and poses on a sofa while Jenny is painting a portrait of her. Helen says that she doesn’t love Oliver and that she only married him for his money. The scene only runs 1 minute and 35 seconds but is fairly important in that it puts Helen in a more negative light than in the Spanish version, and hence also makes Oliver more sympathetic.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQqoo8aa2n9XvR2QhucpGP-d4DuuPGPiALZFdfjy495JDWgOb6ACkrCRxswyTpaA3jSuhn5KgZrAsxpz7ctwc2MU_1qNy6yUsV6M6zykIALNMHvycI2i3KRVp-QvfO3iU06pGtQJga0uA/s1600/Muertas+Vivientes+-+Extra+Italian+Scene2a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQqoo8aa2n9XvR2QhucpGP-d4DuuPGPiALZFdfjy495JDWgOb6ACkrCRxswyTpaA3jSuhn5KgZrAsxpz7ctwc2MU_1qNy6yUsV6M6zykIALNMHvycI2i3KRVp-QvfO3iU06pGtQJga0uA/s400/Muertas+Vivientes+-+Extra+Italian+Scene2a.jpg" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftnceHXzBaGUmZuXtRgoWT0eTMAk_VLfLWcEAefEfc5emj4UEKeooIvUreLVLfkrXA3QvTuAQ4Aql2hExxX3QTjO5D4UfWFeY7mCbNI1pGwaczK5e6qBaKQuj9rGPOAq6MRDPVvwsjB4/s1600/Muertas+Vivientes+-+Extra+Italian+Scene2b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiftnceHXzBaGUmZuXtRgoWT0eTMAk_VLfLWcEAefEfc5emj4UEKeooIvUreLVLfkrXA3QvTuAQ4Aql2hExxX3QTjO5D4UfWFeY7mCbNI1pGwaczK5e6qBaKQuj9rGPOAq6MRDPVvwsjB4/s400/Muertas+Vivientes+-+Extra+Italian+Scene2b.jpg" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMSvyBr0CcKDCuhm15HtLMFkOFqQEzQL0JVO8Nh7LE-4nhJSw007gtogkL5gcIAfVlvodoLXLQoiI9U2lbhXGi6ggcTHh_th8rkmcj6vH8gDQqsFDhNkFmXDdZsYGqgzUys6rpkhJ1QI/s1600/Muertas+Vivientes+-+Extra+Italian+Scene2c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMSvyBr0CcKDCuhm15HtLMFkOFqQEzQL0JVO8Nh7LE-4nhJSw007gtogkL5gcIAfVlvodoLXLQoiI9U2lbhXGi6ggcTHh_th8rkmcj6vH8gDQqsFDhNkFmXDdZsYGqgzUys6rpkhJ1QI/s400/Muertas+Vivientes+-+Extra+Italian+Scene2c.jpg" width="400"></a></div>
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<i>Extra scene with Jenny and Helen</i>
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<strong>6.</strong> The scene where Sarah climbs into bed with a drunken Oliver and tries to seduce him is slightly longer in the Italian version, which includes an extra close-up shot of Oliver pulling down Sarah’s nightgown and fondling her breast.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXUceZuwkx2J3hkXlr6-y9fWCP2T25B2S_-Gs5LbHvuXKTEkdB-863CEHxnainskn3Q6TW-p-YpShK2YOMf85I-ze9Mv0o6uKONTzcCmJTkerTpjNDlpDXweJFnpRG-GoqnM5fcSTHLjQ/s1600/Muertas+Vivientes+-+Spanish+Breast+Fondling.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXUceZuwkx2J3hkXlr6-y9fWCP2T25B2S_-Gs5LbHvuXKTEkdB-863CEHxnainskn3Q6TW-p-YpShK2YOMf85I-ze9Mv0o6uKONTzcCmJTkerTpjNDlpDXweJFnpRG-GoqnM5fcSTHLjQ/s400/Muertas+Vivientes+-+Spanish+Breast+Fondling.jpg" width="400"></a></div>
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<i>This is as far as it goes in the Spanish version</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQiv_TcL4o9-oSDIilw2Z27x3721VW4tTW_BX8vRBMTxzEkeICB-Rs2xyofzuJp0PXqRdYqqbkZz82Rb8F5VDdOSd2UzKRmxVvWPUyyv39EK7Ow2NmzbsnRnPiJ1W0_6RO2auOAXEmvzU/s1600/Muertas+Vivientes+-+Italian+Breast+Fondling.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQiv_TcL4o9-oSDIilw2Z27x3721VW4tTW_BX8vRBMTxzEkeICB-Rs2xyofzuJp0PXqRdYqqbkZz82Rb8F5VDdOSd2UzKRmxVvWPUyyv39EK7Ow2NmzbsnRnPiJ1W0_6RO2auOAXEmvzU/s400/Muertas+Vivientes+-+Italian+Breast+Fondling.jpg" width="400"></a></div>
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<i>Additional boob fondling shot from the Italian version</i>
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<b>7.</b> Another slight difference between the Spanish and Italian versions occurs in the scene where Sarah tries to entice Oliver by pulling down her dress to show him her bare breasts. In the Spanish cut we only see Sarah from behind and Oliver’s facial reaction, whereas the Italian cut includes a brief shot of her naked breasts. Sarah’s face and breasts never appear in the same shot, however, and it looks as if a body double may have been used for this scene.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHtAOu9pVd59Dfszfl46xrIOoFUvAlZYjszcDEG55PPqwWtBvzYqq-5IbwyrOiujOciWe_zSGX3-Qh2GDAYFflS5P-bGZhf3K9ZZUKLt5059kGsVtHdkZ8vHH4jAH6l89KdIbdIYOH0W0/s1600/Muertas+Vivientes+-+Spanish+Strip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHtAOu9pVd59Dfszfl46xrIOoFUvAlZYjszcDEG55PPqwWtBvzYqq-5IbwyrOiujOciWe_zSGX3-Qh2GDAYFflS5P-bGZhf3K9ZZUKLt5059kGsVtHdkZ8vHH4jAH6l89KdIbdIYOH0W0/s400/Muertas+Vivientes+-+Spanish+Strip.jpg" width="400"></a></div>
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<i>How it looks in the Spanish cut</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIfJpFpyx0l3klDKUHJuyYa9b4y6Z-Roy2-IKATcm3CdorCUywsExwGAzaKF3-GpBfkgnX-OUEQsWrkkQl4qVaK3y83qar5ylT6CgdjbTHjiGYfxB8ZU4kTpJPiTMs6_JAZ6OXr8aL88o/s1600/Muertas+Vivientes+-+Italian+Strip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIfJpFpyx0l3klDKUHJuyYa9b4y6Z-Roy2-IKATcm3CdorCUywsExwGAzaKF3-GpBfkgnX-OUEQsWrkkQl4qVaK3y83qar5ylT6CgdjbTHjiGYfxB8ZU4kTpJPiTMs6_JAZ6OXr8aL88o/s400/Muertas+Vivientes+-+Italian+Strip.jpg" width="400"></a></div>
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<i>The brief frontal shot from the Italian cut</i>
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<b>8.</b> The final addition of nudity occurs in Sarah’s fantasy sequence where she stabs Ruth to death, pushes her out of the bed and climbs in to take her place next to Oliver. The Spanish version obviously does not feature any nudity but the Italian version features an extra shot with rear nudity as we see Sarah climbing into the bed.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8GXOFNqaYMu741RwiXOiZuuJ1Ntsybqcc4IB5Bapbsq-S4nlhFbuWMIABrq-NZGp4FDGyJaZ9DYBiKRpUW_cDd0yw6_sYpEdANbwYnWBGc9swh1995v4_h6N6_13y9VT5I3mkNcKzddY/s1600/Muertas+Vivientes+-+Extra+Rear+Nudity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8GXOFNqaYMu741RwiXOiZuuJ1Ntsybqcc4IB5Bapbsq-S4nlhFbuWMIABrq-NZGp4FDGyJaZ9DYBiKRpUW_cDd0yw6_sYpEdANbwYnWBGc9swh1995v4_h6N6_13y9VT5I3mkNcKzddY/s400/Muertas+Vivientes+-+Extra+Rear+Nudity.jpg" width="400"></a></div>
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<i>Additional rear nudity from the Italian version</i>
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It must be mentioned that, surprisingly enough, the Italian and Spanish edits are actually <i>not</i> clothed and unclothed variants of the film. As I’ve already mentioned, the norm with such variants was to shoot the sexy scenes twice – with and without nudity – but the Spanish version of <i>La casa de las muertas vivientes</i> does not feature any kind of alternate scenes. Instead, it merely cuts out all of the nudity shown in the Italian version, and as such it is a censored version rather than a clothed one. Interestingly, there are several scenes where the actors are covered in both the Italian and Spanish versions, including the scene where Sarah spies on Oliver and Ruth making love, and Sarah fantasizing about stabbing Ruth. Indeed, Daniela Giordano and Teresa Gimpera stay fully clothed in both versions – with the majority of the nudity being performed by the sexy Italian actress Gioia Desideri, a minor starlet who was a regular presence in the violent <i>Don Archer</i> photo-novels and who also appeared in Fernando Di Leo’s sleazy giallo <i>Slaughter Hotel</i> (1971).
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtjfXmRZwVc3bRBYGMrUFjATxViAld4IZj9sVQLKiPzJop7GM5advCRXrI3RASd68rfI0_z6FSIOshCRlXQmdPxaM8MP39cbFjWEksCF9fH0pN63IUE9smlMthnkT4UmsyWL3CRO27J0/s1600/Muertas+Vivientes+-+Murderous+Fantasy2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLtjfXmRZwVc3bRBYGMrUFjATxViAld4IZj9sVQLKiPzJop7GM5advCRXrI3RASd68rfI0_z6FSIOshCRlXQmdPxaM8MP39cbFjWEksCF9fH0pN63IUE9smlMthnkT4UmsyWL3CRO27J0/s400/Muertas+Vivientes+-+Murderous+Fantasy2.jpg" width="400"></a></div>
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<i>The fantasy stabbing is clothed in both the Spanish and Italian variants of the film</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSPzCSrAooAvG7vsUiVTJYKFlXvzSYmH378med0z-eKMtRwFWhlTTnsVt7I7ik844KhWVPiq_b1JXZuHxQnoO6z4w5nzEveEHcX6kcJzIXTJVVvQEB_vvvy_sTpGb4M7AdQFUFXmD_4V8/s1600/Muertas+Vivientes+-+Daniela.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSPzCSrAooAvG7vsUiVTJYKFlXvzSYmH378med0z-eKMtRwFWhlTTnsVt7I7ik844KhWVPiq_b1JXZuHxQnoO6z4w5nzEveEHcX6kcJzIXTJVVvQEB_vvvy_sTpGb4M7AdQFUFXmD_4V8/s400/Muertas+Vivientes+-+Daniela.jpg" width="400"></a></div>
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<i>Daniela Giordano stays decent throughout the film but looks smashing nonetheless</i>
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Of course, the real question is whether or not the addition of the nude scenes makes <em>La casa de las muertas vivientes</em> a better film. Well, it doesn’t radically alter the film but it certainly spices it up a bit. Furthermore, the extra details of the lesbian relationship add a few interesting nuances that the film benefits from, and overall the Italian cut plays out better.
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In sum, <em>La casa de las muertas vivientes</em> is an interesting little Spanish psycho-drama. It is slow and not always effective but the morbid atmosphere and Nuria Torray’s terrific performance work in its favor, and José Ramón Larraz fans will probably enjoy his contributions to the story. It isn’t a perfect film but it is definitely better than its reputation and well worth a look.
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<b>Update May 2013</b>
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A mere two months after this review was published, a hitherto unheard of English-dubbed version of the film appeared out of thin air. It’s identical to the stronger Italian cut of the film and bears the English title <i>The Night of the Scorpion</i>, which is just as unsuitable as the various Italian and Spanish titles. It’s a most welcome discovery, though, and English dubbing enthusiasts will be delighted by the presence of many familiar voice actors, including Frank Latimore (dubbing José Antonio Amor), Silvia Faver (dubbing Nuria Torray) and Edward Mannix (dubbing Osvaldo Genazzani).
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© 2013 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzvZAKqKJzHCxg8I6Glepn-3-e6nU_Utib-6sg0CojkM3rywtnI-wHXTxZhJVrHTIY-gdfHSc6hziULkR3V9kFM6Xfj5XACkto1lGs7lo7sP5cJEngul_vgsCJ5DR3QlvfOelmQbCPZ4/s1600/Muertas+Vivientes+-+Jose+Antonio+Amor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyzvZAKqKJzHCxg8I6Glepn-3-e6nU_Utib-6sg0CojkM3rywtnI-wHXTxZhJVrHTIY-gdfHSc6hziULkR3V9kFM6Xfj5XACkto1lGs7lo7sP5cJEngul_vgsCJ5DR3QlvfOelmQbCPZ4/s400/Muertas+Vivientes+-+Jose+Antonio+Amor.jpg" width="400"></a></div>
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<i>José Antonio Amor as Oliver</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-TXeNqzmOCwpy3SmmhauhTzhkHKMcv2OC57cvy3xnKusP0Xyose0bvhud-hRK5zHgOfBEpBbFVL9yuyrG2G7bG-G2-CpK7jgeXVz_nngi-mBw9Trk1q4CSogBRhEpaI-hsVCLCMP0cM/s1600/Muertas+Vivientes+-+Daniela+Giordano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-TXeNqzmOCwpy3SmmhauhTzhkHKMcv2OC57cvy3xnKusP0Xyose0bvhud-hRK5zHgOfBEpBbFVL9yuyrG2G7bG-G2-CpK7jgeXVz_nngi-mBw9Trk1q4CSogBRhEpaI-hsVCLCMP0cM/s400/Muertas+Vivientes+-+Daniela+Giordano.jpg" width="400"></a></div>
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<i>Daniela Giordano as Ruth</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj20p9QzSmFgcprGD5P8myTFIV7Yfn3lPWeS73LQvZQYuJIKk_-6RiyL4zIN7k4P3orv5Ax8FwoH1u85yd7qbEO1hstjL8teBdyDwchwf89Y_qoHxDSXE6rFiah-jCywH3CqsbY1n1e3jw/s1600/Muertas+Vivientes+-+Nuria+Torray.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj20p9QzSmFgcprGD5P8myTFIV7Yfn3lPWeS73LQvZQYuJIKk_-6RiyL4zIN7k4P3orv5Ax8FwoH1u85yd7qbEO1hstjL8teBdyDwchwf89Y_qoHxDSXE6rFiah-jCywH3CqsbY1n1e3jw/s400/Muertas+Vivientes+-+Nuria+Torray.jpg" width="400"></a></div>
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<i>Nuria Torray as Sarah</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPNTrOMvvxO9aYSS7FjOfDn2I6tLVe03AHZhru09RfDRmEC1hUwW-eDsVYEPfL2EC6Zw4a0jn2SfBMol4zVA4T_xZXEQdb4ny31NxXCZL7FzNjxjkMzjQeLX97E_CBmd4BPNy5tSclF4/s1600/Muertas+Vivientes+-+Teresa+Gimpera.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPNTrOMvvxO9aYSS7FjOfDn2I6tLVe03AHZhru09RfDRmEC1hUwW-eDsVYEPfL2EC6Zw4a0jn2SfBMol4zVA4T_xZXEQdb4ny31NxXCZL7FzNjxjkMzjQeLX97E_CBmd4BPNy5tSclF4/s400/Muertas+Vivientes+-+Teresa+Gimpera.jpg" width="400"></a></div>
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<i>Teresa Gimpera as Jenny</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg46kk0mm6ne7mcVKz1pmI6oVaUOWucpH6zp9QoXMHZ_J8gMnbaCg5XlJR8djE_nYHzqOMtywTfzHHlvSLqFW19hLGJ32iLZi3BNHHHIcdwICCRlowguaOe0qSgIPJ4mlSIIXIr25GLsnk/s1600/Muertas+Vivientes+-+Gioia+Desideri.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg46kk0mm6ne7mcVKz1pmI6oVaUOWucpH6zp9QoXMHZ_J8gMnbaCg5XlJR8djE_nYHzqOMtywTfzHHlvSLqFW19hLGJ32iLZi3BNHHHIcdwICCRlowguaOe0qSgIPJ4mlSIIXIr25GLsnk/s400/Muertas+Vivientes+-+Gioia+Desideri.png" width="400"></a></div>
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<i>Gioia Desideri as Helen</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvNyMesbJRRYh9Klz7svReQh7hqQGxDh6FExGPzOG1PKb8UWPoYADl8MqwJWJqpE54l7-5ANkUDhUsachuAw9h2Z36FFdbr4DcVOzT9dueSBbPDQBAuZydVgXYWdpjDHWByRYMoLLqVA/s1600/Muertas+Vivientes+-+Osvaldo+Genazzani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvNyMesbJRRYh9Klz7svReQh7hqQGxDh6FExGPzOG1PKb8UWPoYADl8MqwJWJqpE54l7-5ANkUDhUsachuAw9h2Z36FFdbr4DcVOzT9dueSBbPDQBAuZydVgXYWdpjDHWByRYMoLLqVA/s400/Muertas+Vivientes+-+Osvaldo+Genazzani.jpg" width="400"></a></div>
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<i>Osvaldo Genazzani as Private Detective</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDLdX4H_BdARIveByRhHfFvQyk5YKeIf9F9KNlSgdbp-pePC0Cyq-ttoLgOkhkmQZ9uwrTgWkAv1RDgOdGGmHZxxrAQxhIt3qpN0iWIBxPGjSCbw20e_qANZH92iRJOG05dlO5G6znnM/s1600/Muertas+Vivientes+-+Alicia+Tomas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDLdX4H_BdARIveByRhHfFvQyk5YKeIf9F9KNlSgdbp-pePC0Cyq-ttoLgOkhkmQZ9uwrTgWkAv1RDgOdGGmHZxxrAQxhIt3qpN0iWIBxPGjSCbw20e_qANZH92iRJOG05dlO5G6znnM/s400/Muertas+Vivientes+-+Alicia+Tomas.jpg" width="400"></a></div>
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<i>Alicia Tomás as Clara, the maid</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUmy-bvxvtZKya4q7LtlI-4A5A0VG-6z5s5sSTiyKttEoQs7I3yZMKMOlay_PP-vg6kb5YxTzPl-AdL_tvajFUuYTC-nO39BkCqH3MwgFs3GNIre8Fz1APAPzTrhueSfTCvv8dG033OYU/s1600/Muertas+Vivientes+-+Peter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUmy-bvxvtZKya4q7LtlI-4A5A0VG-6z5s5sSTiyKttEoQs7I3yZMKMOlay_PP-vg6kb5YxTzPl-AdL_tvajFUuYTC-nO39BkCqH3MwgFs3GNIre8Fz1APAPzTrhueSfTCvv8dG033OYU/s400/Muertas+Vivientes+-+Peter.jpg" width="400"></a></div>
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<i>??? as Peter, the gardener</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkq2SnPjXynJCL2tIp21tTq_ReYc5Ra4g5OLfZWKXku2hr3NXPQsYtO90JCWkkgEkVMOZMse3lqU8VpVNQ41B3uHzFe6incGqCfRhAivmKvgovY9s8mD7ZpxGhfKVYc9BCYhkpbB1e88/s1600/Muertas+Vivientes+-+Carlo+Gentili.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkq2SnPjXynJCL2tIp21tTq_ReYc5Ra4g5OLfZWKXku2hr3NXPQsYtO90JCWkkgEkVMOZMse3lqU8VpVNQ41B3uHzFe6incGqCfRhAivmKvgovY9s8mD7ZpxGhfKVYc9BCYhkpbB1e88/s400/Muertas+Vivientes+-+Carlo+Gentili.jpg" width="400"></a></div>
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<i>Carlo Gentili as Dr. Roberts</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com2tag:blogger.com,1999:blog-3249679003059730182.post-11334804226959399482013-02-28T18:54:00.000-08:002015-01-10T09:26:12.023-08:00Newspaper clippings of sexy Euro actresses<br />
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One of Italy's best known and most influential newspapers is <i>La Stampa</i>, published since 1867 and still going strong. The paper launched its own <a href="http://www.lastampa.it">website</a> in 1999 and they have since made their historical archives available - free of charge. So everyone with an inclination to do so can browse through scanned versions of old <i>La Stampa</i> issues dating all the way back to the beginning in 1867. So if you're interested in finding old pictures and articles about Italian actors, this is a nice place to start. Of course, <i>La Stampa</i> is a serious newspaper and primarily deals with "real" news, but there's usually a page or two dedicated to entertainment news, and in this section you can find pictures and interesting info about popular actors. The articles are usually not too long, though. In fact, there's often just a picture of an actress and a brief notice that she is currently starring in this or that film. These notices are nevertheless of great interest because they frequently announce films under different titles than the ones they were eventually released under, and also because they sometimes mention films which were apparently never finished or released. And it's also great because of the wonderful pictures. So if you have a lot of free time on your hands, you can have fun browsing through thousands upon thousands of pages of old <i>La Stampa</i> issues. And if you don't have the patience, you can find some pretty cool clippings of sexy Euro actress from 1971-73 issues right here:
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzMydNwDrS9x-7fd9XsXO33XS9LF9J1x8GP8JhKAzhQ70PJTmzMH9nByGCiFCg78GBt_ksWGZzYNpVLbmxlahenTPWksWgFxhrEVlV7EGtAujyy23Pm1I2EiWrMqkKbSrZ-ebVHPX7mzA/s1600/Edwige+Fenech+March+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzMydNwDrS9x-7fd9XsXO33XS9LF9J1x8GP8JhKAzhQ70PJTmzMH9nByGCiFCg78GBt_ksWGZzYNpVLbmxlahenTPWksWgFxhrEVlV7EGtAujyy23Pm1I2EiWrMqkKbSrZ-ebVHPX7mzA/s400/Edwige+Fenech+March+1972.jpg" width="217" /></a></div>
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"An orchid for Edwige" reads the headline for this notice from March 1972. The text informs us that Edwige Fenech is shooting the film <i>Una strana orchidea</i> - i.e. <i>A Strange Orchid</i> - togeher with Paola Quattrini and Annabella Incontrera. The title of this film would later be changed to <i>Perché quelle strane gocce di sangue sul corpo di Jennifer?</i> and it was released in English as <i>The Case of the Bloody Iris</i>. It is strange to see that this earlier title makes reference to an orchid instead of an iris but it's possible that the flower was changed in order to avoid confusion with Umberto Lenzi's giallo <i>Seven Blood-Stained Orchids</i>, which was made around the same time.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaNGnnYSciByWIIiDnacHJM0jLuBzs6Dju53oK2Vk2V4Gx9nDaSgbUuhjocnOBjwU3cZQlw_Y2RnAMrFoMJqBaFr85T6W1IioLBgR3SazNAwB32IMWFIoBc9Ncwiue2a6cZ3_wmQn3oT8/s1600/Evelyn+Stewart+May+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaNGnnYSciByWIIiDnacHJM0jLuBzs6Dju53oK2Vk2V4Gx9nDaSgbUuhjocnOBjwU3cZQlw_Y2RnAMrFoMJqBaFr85T6W1IioLBgR3SazNAwB32IMWFIoBc9Ncwiue2a6cZ3_wmQn3oT8/s400/Evelyn+Stewart+May+1972.jpg" width="400" /></a></div>
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This great picture of the lovely Evelyn Stewart was published in May 1972. According to the text, Evelyn is relaxing in her Roman home after shooting the thriller <i>Uccidi tre volte</i> - meaning <i>Kill Three Times</i> in English - which is close to being finished. No film by that title was ever released but Evelyn was appearing a lot of gialli around that time, so I am assuming that <i>Uccidi tre volte</i> was the shooting title for one of them.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3I22Per1xLRXQhCaXHGPAFnhuqjsQ4-e2V8YMtfayOSkPP05zYD-PdLhYh-AabzT6bjKp9Gyg68EgsrUX4-Kae6eu7qOIBwkzHCKMsbNXJlx98LfKjkT7evyjGygMfx8HJ_UZmXqX2HQ/s1600/Barbara+Bouchet+August+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3I22Per1xLRXQhCaXHGPAFnhuqjsQ4-e2V8YMtfayOSkPP05zYD-PdLhYh-AabzT6bjKp9Gyg68EgsrUX4-Kae6eu7qOIBwkzHCKMsbNXJlx98LfKjkT7evyjGygMfx8HJ_UZmXqX2HQ/s400/Barbara+Bouchet+August+1971.jpg" width="400" /></a></div>
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This notice from August 1971 features the gorgeous Barbara Bouchet in a scene from a film titled <i>Dove fa male?</i> which translates to <i>Where Does it Hurt?</i> in English. I recognize the scene, however, and it is from the great giallo <i>La tarantola dal ventre nero</i>, a.k.a. <i>The Black Belly of the Tarantula</i>, which is a far more intriguing title.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0exBJcLG_f-E4WJqmiILSukT8oUTBKxZm2QPMtLNNn3I35LhhKkDwRwYPaRy7Q6LNHV1pDPLgbe0DK0eoyrAYEffM0BMfDG013KWozxJLBEzv5DOvcl6LBct_gfjhx-PoSzcCMYTLkp4/s1600/Barbara+Bouchet+January+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0exBJcLG_f-E4WJqmiILSukT8oUTBKxZm2QPMtLNNn3I35LhhKkDwRwYPaRy7Q6LNHV1pDPLgbe0DK0eoyrAYEffM0BMfDG013KWozxJLBEzv5DOvcl6LBct_gfjhx-PoSzcCMYTLkp4/s400/Barbara+Bouchet+January+1973.jpg" width="236" /></a></div>
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Barbara Bouchet also features in this clipping from January 1973, which bears the headline "Accused of corruption". According to the text, she was accused of corrupting of a minor because of the infamous scene in Lucio Fulci's <i>Don't Torture a Duckling</i>, in which a buck naked Barbara attempts to seduce an adolescent boy. Apparently, Barbara had to go before a tribunal, where she defended herself by saying that an adult man of very small stature was used for the scene. And I believe she was telling the truth. If you look at the scene you'll notice that the only time the boy is in the same shot as the naked Barbara is when he's seen from behind, so it does indeed appear as though he was doubled by a dwarf. I'm sure it was a very enjoyable day's work for the double!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XPBmgTbvP80xWNNt4nvxbTDRTcPglbanEA5LoD1Hu7YA7dyC_0rXxxOvxqg_N9CQhghPJv_levftP7N41teWrwotBF71Gypqo_oWtoP13bZRoKGDZNhAbtV5rgWmngoWKODcTQ99U1U/s1600/Erika+Blanc+May+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XPBmgTbvP80xWNNt4nvxbTDRTcPglbanEA5LoD1Hu7YA7dyC_0rXxxOvxqg_N9CQhghPJv_levftP7N41teWrwotBF71Gypqo_oWtoP13bZRoKGDZNhAbtV5rgWmngoWKODcTQ99U1U/s400/Erika+Blanc+May+1972.jpg" width="222" /></a></div>
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According to the text, this photo published in May 1972 shows the beautiful actress Erika Blanc on holiday in Fregene but it's quite obviously a publicity shot, and a lovely one at that.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJyYsyCFxoVAEEK6c37_Ju0PJChHk2dhkVIzwYwpMlnXVayJgyhqs9e8UOa6_8OZgXuQVxkutUMXjW-X14dN_HQfGA7dTyfrgcOP9iPBhJjUpWm6igXr9S12vvGmHhHzwZW4dzNt0wQ_g/s1600/Ewa+Aulin+August+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJyYsyCFxoVAEEK6c37_Ju0PJChHk2dhkVIzwYwpMlnXVayJgyhqs9e8UOa6_8OZgXuQVxkutUMXjW-X14dN_HQfGA7dTyfrgcOP9iPBhJjUpWm6igXr9S12vvGmHhHzwZW4dzNt0wQ_g/s400/Ewa+Aulin+August+1971.jpg" width="280" /></a></div>
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This notice from August 1971 announces that the beautiful Swedish actress Ewa Aulin is starring in the film <i>La controfigura</i>, released in English as <i>The Double</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVYQmKY4IsDmoaI-Oi0BZs5nCsFGU8fsGJ1L1WAnWSw_Lf618-ErgYtQ6C3JAtoZGQLHOupV6KL2X4UzW1gGrc32t_E5AP0z3novV9Kaxb77rylsMrCsLR0wIy1HsFNn5VBt6HNNBFh8/s1600/Ewa+Aulin+April+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVYQmKY4IsDmoaI-Oi0BZs5nCsFGU8fsGJ1L1WAnWSw_Lf618-ErgYtQ6C3JAtoZGQLHOupV6KL2X4UzW1gGrc32t_E5AP0z3novV9Kaxb77rylsMrCsLR0wIy1HsFNn5VBt6HNNBFh8/s400/Ewa+Aulin+April+1972.jpg" width="248" /></a></div>
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Ewa Aulin is also the subject of this notice from April 1972, which announces that she is playing the leading role in a giallo named <i>Un uomo da uccidere</i> (<i>A Man to Kill</i> if translated to English), directed by a certain Sala. Unfortunately, no such film appears to have been made. The director Sala is presumably either Vittorio Sala or Adimaro Sala but Ewa Aulin never made any films for any of them, so it appears that <i>Un uomo da uccidere</i> is an unmade or unfinished production.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh7rPdfR35oiNpDiQ0f04XeJyHUsEAdnKfOVGvMlvL1o2MIEiWjrpjyHpmKN_35BEAjnb-GYd5JCyPhMoK7wUAbvIdHlhCYC4STwZW4D2pzdqAtc5xhhpabw-ljRxok8G7UvoIXl1_BOw/s1600/Eva+Czemerys+April+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh7rPdfR35oiNpDiQ0f04XeJyHUsEAdnKfOVGvMlvL1o2MIEiWjrpjyHpmKN_35BEAjnb-GYd5JCyPhMoK7wUAbvIdHlhCYC4STwZW4D2pzdqAtc5xhhpabw-ljRxok8G7UvoIXl1_BOw/s400/Eva+Czemerys+April+1973.jpg" width="400" /></a></div>
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We're still not quite done with Ewa Aulin, though. This clipping from April 1973 - marked as Eva vs. Ewa - features the sexy Eva Czemerys, and the text announces that she and Ewa Aulin are playing rivals in a romantic film with Mino Reitano. Although no title is mentioned, the film in question is Ferdinando Baldi's <i>Una vita lunga un giorno</i>, known in English as <i>Long Lasting Days</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw2U08srvFoNCVO1T4RJ6FzrgPqfhfjKVnCbo8kBTTRNof4S10hQ1GxnXfphcURycgFg6N0yun8mRtVChEBEbRNAk3-55dI4OlC3MRq8UtgU2bIiSau1CobvnzJtvIn2fNnoAgvwRN1qE/s1600/Rosalba+Neri+February+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw2U08srvFoNCVO1T4RJ6FzrgPqfhfjKVnCbo8kBTTRNof4S10hQ1GxnXfphcURycgFg6N0yun8mRtVChEBEbRNAk3-55dI4OlC3MRq8UtgU2bIiSau1CobvnzJtvIn2fNnoAgvwRN1qE/s400/Rosalba+Neri+February+1972.jpg" width="177" /></a></div>
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Up next is a notice from February 1972 featuring the irresistable Rosalba Neri. The brief text tells us that Rosalba is a young actress who loves thrillers, and that she is appearing in the giallo <i>Il sorriso della jena</i>. The title translates to <i>The Smile of the Hyena</i> but the film was released in English as <i>Smile Before Death</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirYlN88adJ6mYK-5fclMmClYGZxibuhIg6mXMpgI-ydeGakRfJyzi9-RuUOdhBJr4SKF4tjEMh-udq76v8yG52EE0Q5O9Ns4IE3Nv5FGw1JxV7VVwYgufiz-lWV2BGN1nfL4SRFuvR_KI/s1600/Solvi+Stubing+February+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirYlN88adJ6mYK-5fclMmClYGZxibuhIg6mXMpgI-ydeGakRfJyzi9-RuUOdhBJr4SKF4tjEMh-udq76v8yG52EE0Q5O9Ns4IE3Nv5FGw1JxV7VVwYgufiz-lWV2BGN1nfL4SRFuvR_KI/s400/Solvi+Stubing+February+1972.jpg" width="250" /></a></div>
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Striking, blonde German actress Solvi Stubing is the focus of this clipping from February 1972. According to the text, Solvi is in Bermuda to shoot a film labelled as a 'giallo-rosa', a termed used for describing crime films with a strong romantic content.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6104BYAQgLR6ZqlQAr10nNYYHVggJG7it8SxHwdGyYzQmkhqMUJML-SA7lZ8Gd5Bv9x4Gdu5MF3l8aCqkTu2iEAqHG0-dLCX9MVVZ8dIr1LUdHSMJVkzY0jhw39tMFiva6d2kSk_tHFc/s1600/Anita+Strindberg+May+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6104BYAQgLR6ZqlQAr10nNYYHVggJG7it8SxHwdGyYzQmkhqMUJML-SA7lZ8Gd5Bv9x4Gdu5MF3l8aCqkTu2iEAqHG0-dLCX9MVVZ8dIr1LUdHSMJVkzY0jhw39tMFiva6d2kSk_tHFc/s400/Anita+Strindberg+May+1971.jpg" width="141" /></a></div>
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Swedish-born giallo queen Anita Strindberg strikes a pose in this picture published in May 1971. The short text informs us that this is Anita with a new bikini. Not what I'd call news worthy but a definitely a terrific excuse to print a revealing picture of the statuesque, blonde actress.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Tp9sJHJs3akmxvcViNXVWnSlaGehLhrcEfjrU7HZRESJxgo7nNt2RZsyRQZPqCIo6OIqPJL0S8VfUlsmftzmMpi0xsSj9WuOafOOVETg_bjJ1ndyoytncJFjItYovjmVTiyUT9T1Ezw/s1600/Anita+Strindberg+July+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Tp9sJHJs3akmxvcViNXVWnSlaGehLhrcEfjrU7HZRESJxgo7nNt2RZsyRQZPqCIo6OIqPJL0S8VfUlsmftzmMpi0xsSj9WuOafOOVETg_bjJ1ndyoytncJFjItYovjmVTiyUT9T1Ezw/s400/Anita+Strindberg+July+1972.jpg" width="131" /></a></div>
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Here's another wonderful shot of Anita Strindberg - published in July 1972. It shows the actress on a beach in picturesque San Felice Circeo, where she is shooting a 'giallo-rosa'.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFUeT6fT6Wc7q6FwIijR3aLUrBFeXVQmw2cKO8auJCTmMFvvkfUKtpdhNhEhn2raNdRDvL6I5T3O6mpXbWwdSVNCE6LmU85mjQjOo9kO4DAIAGMVeW_WxYDqaanSzVwDqB6g0-tZCMI6Y/s1600/Marisa+Mell+July+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFUeT6fT6Wc7q6FwIijR3aLUrBFeXVQmw2cKO8auJCTmMFvvkfUKtpdhNhEhn2raNdRDvL6I5T3O6mpXbWwdSVNCE6LmU85mjQjOo9kO4DAIAGMVeW_WxYDqaanSzVwDqB6g0-tZCMI6Y/s400/Marisa+Mell+July+1972.jpg" width="150" /></a></div>
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"A western for everyone" reads the headline to this notice from July 1972, featuring the stunning Marisa Mell in a scene from an Italian western. I'm not really into westerns so I'm not sure which film the picture is taken from but I'm assuming it's from <i>Tutti fratelli nel west... per parte di padre</i>, a.k.a. <i>Lady Dynamite</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_Myn_Bd7az1ykbtK-o-mSOzdZO9qaTw0EPuBhzQc1639ndr7Y7O3e28oy0cVYqLhabKJPbvQmUdmZCDWZz6WUgIzlLxsMmyaQyQiEZdiNQNwlnqbqqtqL_QwZB0BkLoZTCq3VlIoEUg/s1600/Shirley+Corrigan+July+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga_Myn_Bd7az1ykbtK-o-mSOzdZO9qaTw0EPuBhzQc1639ndr7Y7O3e28oy0cVYqLhabKJPbvQmUdmZCDWZz6WUgIzlLxsMmyaQyQiEZdiNQNwlnqbqqtqL_QwZB0BkLoZTCq3VlIoEUg/s400/Shirley+Corrigan+July+1972.jpg" width="235" /></a></div>
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Here is a lovely shot of British actress Shirley Corrigan, printed in July 1972, and promoting her appearance in Sergio Pastore's giallo <i>Sette scialli di seta gialla</i>, which was released in English as <i>The Crimes of the Black Cat</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLa7MKtElh53MG5zjvEe-TvhqP5COgNLKcrSEfYDEfTH-9K7ACPsbzdLVnejiSaDlBM-ge4_LQkq7SSp1kz0ev2z0p2Jpcti5HOM4bGqY8lnEiHO3HPkc0ifzLpI2bGTNG7Q0KD6u2Wzg/s1600/Marina+Malfatti+June+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLa7MKtElh53MG5zjvEe-TvhqP5COgNLKcrSEfYDEfTH-9K7ACPsbzdLVnejiSaDlBM-ge4_LQkq7SSp1kz0ev2z0p2Jpcti5HOM4bGqY8lnEiHO3HPkc0ifzLpI2bGTNG7Q0KD6u2Wzg/s400/Marina+Malfatti+June+1972.jpg" width="258" /></a></div>
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A striking headshot of beautiful giallo regular Marina Malfatti (published in June 1972) announcing her participation in the giallo <i>La dama rossa uccide 7 volte</i>. The title translates to <i>The Red Queen Kills Seven Times</i> in English, and while it is often referred to by this title, the original English export title is actually <i>The Lady in Red Kills Seven Times</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibyGTdIr7GXKljZevar9mY7oe_RJ3bbJLCIeFg2awhcZwAcDDrLEKJ3CDl6GML60Pin-UDEzrtQbuUO2-82WmxCOeZW8zPJBAjDmmw3rQGiC8ayIFRU471FcFN_mARgSLF4dBymqHzwu8/s1600/Pamela+Tiffin+June+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibyGTdIr7GXKljZevar9mY7oe_RJ3bbJLCIeFg2awhcZwAcDDrLEKJ3CDl6GML60Pin-UDEzrtQbuUO2-82WmxCOeZW8zPJBAjDmmw3rQGiC8ayIFRU471FcFN_mARgSLF4dBymqHzwu8/s400/Pamela+Tiffin+June+1971.jpg" width="400" /></a></div>
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This clipping from June 1971 features an interesting photo of the gorgeous American actress Pamela Tiffin. According to the text, the picture shows Pamela in a scene from Luigi Bazzoni's film <i>La giornata dell'Ariete</i> - i.e. <i>The Day of the Aries</i> - which was released two months later under the slightly modified title <i>Giornata nera per l'Ariete</i> (i.e. <i>Black Day for the Aries</i>) and in English-speaking territories as <i>The Fifth Cord</i>. But, clearly, this is not an actual scene from the film but rather an on-set photo showing Pamela getting her hair fixed before shooting a scene.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6G5Z9JdVEQBpYkRRtPsXLe2i6J7L8Jzp5NkQvowBAl2flYoK-YmkcqqPMGMPA0cPkfQ7IWOLwHhy5WAM5QUvR5Qd-96lSokOKf-OaJwjv5ALF-ZUsRncLb5EEd3dQjbIlJtvKrVbhSyU/s1600/Camille+Keaton+November+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6G5Z9JdVEQBpYkRRtPsXLe2i6J7L8Jzp5NkQvowBAl2flYoK-YmkcqqPMGMPA0cPkfQ7IWOLwHhy5WAM5QUvR5Qd-96lSokOKf-OaJwjv5ALF-ZUsRncLb5EEd3dQjbIlJtvKrVbhSyU/s400/Camille+Keaton+November+1972.jpg" width="220" /></a></div>
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This terrific photo of American actress Camille Keaton was published in November 1972. The text stresses Camille's relation to the legendary American comedian Buster Keaton, and announces that she is shooting the film <i>Il gatto di Brooklyn</i>, i.e. <i>The Cat of Brooklyn</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnGjRtWgn6VTif4hkcDzqvXrLO4nEi_zu7-smoRG1h48b17zVaOMN5fKz7alR4iL_hMCkTfKSfCPjd_-2wwKvOcSMJylTyTdCfCmuQTHHbJXnYcQTshQxVo6yOcM0CjQAbZcH8Id0F2Rc/s1600/Pier+Angeli+May+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnGjRtWgn6VTif4hkcDzqvXrLO4nEi_zu7-smoRG1h48b17zVaOMN5fKz7alR4iL_hMCkTfKSfCPjd_-2wwKvOcSMJylTyTdCfCmuQTHHbJXnYcQTshQxVo6yOcM0CjQAbZcH8Id0F2Rc/s400/Pier+Angeli+May+1971.jpg" width="237" /></a></div>
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Here we have a really nice picture of the wonderful Italian actress Anna Maria Pierangeli, known during her Hollywood years simply as Pier Angeli. "It's not too late" reads the headline of this notice from May 1971, which tells us that the actress - at age 38 - is about to embark on a new acting career. After being neglected and given poor roles in Italy, Anna Maria has received interesting offers from Hollywood, the text reveals. Knowing what was in store for Anna Maria undeniably makes it rather sad to read a notice that is so optimistic about her future. She did indeed land a role in a new American production but it was in <i>Octaman</i>, a terrible piece of low budget schlock, and Anna Maria died of a barbiturate overdose in September 1971 - less than four months after the publication of this notice.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwyL1DylDYaqs6nKHDqnje6490hRO6_xAmov5lYGCYzIPFX5orA3kve0Mp-725IQ68_nXLZyjbkpde5MEIZQhN7TtInhQa17Bz8nb-qA_Q0MCPDENF3IS0Ft4ngbDNW3uK7ja5oAsZPMo/s1600/Beba+Loncar+January+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwyL1DylDYaqs6nKHDqnje6490hRO6_xAmov5lYGCYzIPFX5orA3kve0Mp-725IQ68_nXLZyjbkpde5MEIZQhN7TtInhQa17Bz8nb-qA_Q0MCPDENF3IS0Ft4ngbDNW3uK7ja5oAsZPMo/s400/Beba+Loncar+January+1973.jpg" width="152" /></a></div>
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Here's a smashing picture of the ravishing Yugoslavian actress Beba Loncar, a big European star throughout the 1960s and 70s. This notice from January 1973, announces that Beba is in Naples shooting a giallo with Hollywood actor Richard Widmark. The title of the film is not mentioned but it is said to take place in the slums of the port of Naples. Beba had appeared alongside Richard Widmark ten years earlier in the British adventure film <i>The Long Ships</i> (1963) but I have been unable to find any information about a film from 1973 featuring the two of them. Presumably, the project never got off the ground, or it was never finished.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEr0tTGJVh5FwkmTUjl-p6V3ZUvUtNkxlCAcLpLPfIGjjuwEbIMVivCHtjTEBlAwql4htO3npKM116zPoCmVYElQP1yFtzjfbLpgsoB3iHj56mTvyLogRty78n5ZupoGdeR3dDaQONp6M/s1600/Jean+Seberg+June+1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEr0tTGJVh5FwkmTUjl-p6V3ZUvUtNkxlCAcLpLPfIGjjuwEbIMVivCHtjTEBlAwql4htO3npKM116zPoCmVYElQP1yFtzjfbLpgsoB3iHj56mTvyLogRty78n5ZupoGdeR3dDaQONp6M/s400/Jean+Seberg+June+1971.jpg" width="400" /></a></div>
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This notice from June 1971 announces that American actress Jean Seberg, who was working exclusively in Europe during the 1970s, is starring alongside James Mason and Curd Jürgens in the film <i>La piovra dai 7 tentacoli</i>, which translates to <i>The Octopus with Seven Tentacles</i>. Ultimately, the film was released under the much more simplistic title <i>Kill</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX3xky5o5OKONz953Le62oaBwujeOINwC8Z8ecAvKS5f7I5_RSS3e2-BRNwq4O6Jcwxd-ZB9IeTumbMhLpQ0lrCo4oxHgkYANkQGXIp-aeAdLQ0GrjS39XFZ8ajSlPlfXBcLySYF0jUak/s1600/Rosemarie+Dexter+June+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX3xky5o5OKONz953Le62oaBwujeOINwC8Z8ecAvKS5f7I5_RSS3e2-BRNwq4O6Jcwxd-ZB9IeTumbMhLpQ0lrCo4oxHgkYANkQGXIp-aeAdLQ0GrjS39XFZ8ajSlPlfXBcLySYF0jUak/s400/Rosemarie+Dexter+June+1972.jpg" width="247" /></a></div>
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Beautiful British actress Rosemarie Dexter is the focus of this notice from June 1972. According to the text, Rosemarie is back in Rome after the shooting of her third western in Spain.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgriHmx2HjQU9F1eYzvIlzG83TaW6s0HgWs5wt4aFUqLiIrkn2IenhjrLjbrBRM-rPYsG7tdJ2igkYQk7XderEl5qm84r7rHB76BYjAvwKTJvftyCTWKs6yc0UR6oThvzQxbubAPqu7UE0/s1600/Senta+Berger+April+1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgriHmx2HjQU9F1eYzvIlzG83TaW6s0HgWs5wt4aFUqLiIrkn2IenhjrLjbrBRM-rPYsG7tdJ2igkYQk7XderEl5qm84r7rHB76BYjAvwKTJvftyCTWKs6yc0UR6oThvzQxbubAPqu7UE0/s400/Senta+Berger+April+1973.jpg" width="225" /></a></div>
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Up next is this terrific shot of Austrian actress Senta Berger. Published in April 1973, this notice announces Senta's participation in the comedy <i>Amore e ginnastica</i>, known in English as <i>Love and Gymnastics</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlFsu9FJwq2wmrHR5ZMybBDMtBymF3mNQsFCpYI5cqqC8IorTiJqiym1ye2Z9TxE64ELfl39crGxtu3aPmXD34WSHgEPJUfS8XYByXUu4C_aoWxBLtbXSF98j_62tYU2jTEDYILdEVl0/s1600/Chelo+Alonso+June+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTlFsu9FJwq2wmrHR5ZMybBDMtBymF3mNQsFCpYI5cqqC8IorTiJqiym1ye2Z9TxE64ELfl39crGxtu3aPmXD34WSHgEPJUfS8XYByXUu4C_aoWxBLtbXSF98j_62tYU2jTEDYILdEVl0/s400/Chelo+Alonso+June+1972.jpg" width="265" /></a></div>
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Sexy Cuban spitfire Chelo Alonso was one of the greatest female stars of Italian peplum and swashbuckler movies during the late 1950s and early 1960s but when the popularity of such films started to wane, Chelo more or less disappeared from films. Her final film appearance was a supporting role in the western <i>Night of the Serpent</i> in 1969, but although she abandoned films, she did not withdraw from public life. In fact, Chelo turned her attention to television, and this notice from June 1972 - which shows that the Cuban actress was still spectacularly sexy - announces her new music show <i>E perche no?</i>, which she hosted, and also featured in song and dance numbers.
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Blonde, beatiful German starlet Karin Schubert strikes a sexy pose in this clipping from August 1972, which show Karin in a shot from a film called <i>Le bellissime donzelle</i> - i.e. <i>The Beautiful Damsels</i>. I can't find any film by that title, so this is yet another case of a film that changed titles. My guess is that this film eventually became <i>Quel gran pezzo della Ubalda tutta nuda e tutta calda</i>, a.k.a. <i>Ubalda, All Naked and Warm</i>, which I haven't seen.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj85dKNyYhyg_ndSUNTn5Wi_05gP0l6nS8GNGu2OwADGij_h8L_iZTH6u4OJ6kVyAS4jHkmYMu4FMCgmMopaSiU7s0z2nU9cdyq77tz27VD1nkOxFdob5mvWgNurHQGwS_qOTtCJrzPgQ/s1600/Rita+Calderoni+February+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj85dKNyYhyg_ndSUNTn5Wi_05gP0l6nS8GNGu2OwADGij_h8L_iZTH6u4OJ6kVyAS4jHkmYMu4FMCgmMopaSiU7s0z2nU9cdyq77tz27VD1nkOxFdob5mvWgNurHQGwS_qOTtCJrzPgQ/s400/Rita+Calderoni+February+1972.jpg" width="227" /></a></div>
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This notice from February 1972 features the very sexy Rita Calderoni, who according to the text has signed on to star in the film <i>La reincarnazione</i>. This film - directed by Renato Polselli - was released nearly a year later under the delirious title <i>Riti, magie nere e segrete orge nel trecento</i>, translating to <i>Rites, Black Magic and Secret Orgies in the 14th Century</i>, and is known in English as both <i>The Reincarnation of Isabel</i> and <i>Black Magic Rites</i>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiUqviOY8qxh9kdFgYzI2VsIJE2Vo9GNgzYHmVXB4hzcrRGH2nw-I22bvzP6ccw8EzwJl3kYm-vuE8rfbXPMlKkAqks67131jmzWj3vag3jocgJtL5vXgZxnyjwiQuWI0KeCEMNrd30VQ/s1600/Paola+Tedesco+April+1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiUqviOY8qxh9kdFgYzI2VsIJE2Vo9GNgzYHmVXB4hzcrRGH2nw-I22bvzP6ccw8EzwJl3kYm-vuE8rfbXPMlKkAqks67131jmzWj3vag3jocgJtL5vXgZxnyjwiQuWI0KeCEMNrd30VQ/s400/Paola+Tedesco+April+1972.jpg" width="213" /></a></div>
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This fantastic shot of the very attractive Paola Tedesco was published in April 1972, and the text informs us that the actress is in Morocco making a film about the mafia. Paola did make a mafia picture in 1972, Alberto De Martino's <i>Crime Boss</i>, in which she starred alongside Telly Savalas and Antonio Sabatò. However, this film was neither shot or set in Morocco.
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Texas-born Penny Brown was a very successful singer and musical theater actress in Italy in the 1960s and 70s but she also did occasional acting in films - most notably as a hippie in Lucio Fulci's giallo <i>A Lizard in a Woman's Skin</i> (1971). This notice from January 1973 announces Penny as a cast member in the film <i>Tecnicamente dolce</i> (translation: <i>Technically Sweet</i>), directed by the renowned Michelangelo Antonioni. Unfortunately for Penny, <i>Tecnicamente dolce</i> would never be made. Antonioni had written the screenplay in the 1960s and the film was to be shot in Sardinia, Rome, New York and in the Amazonian jungle, with Jack Nicholson and Maria Schneider as the stars. But just as all the preparation for the film was ready, producer Dino De Laurentiis pulled the funding because he feared the production would become too expensive. Instead, Antonioni was offered to direct <i>The Passenger</i> (1975) with the same lead actors, and <i>Tecnicamente dolce</i> was never made. The screenplay, however, was published in 1976.
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com8tag:blogger.com,1999:blog-3249679003059730182.post-68517302337224311182013-02-18T16:16:00.001-08:002018-02-19T11:29:24.386-08:00The House of Lost Souls/La casa delle anime erranti<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bb9LJp0rK1DCbKm2r9-H7tbLOLrRh2g05z9gtMAQPDxNfTI0dV8XvVbAcVNr9fdfOgT6ZKp6dK8VKPF8RDBbc__kKBzhw_hyphenhyphenptC2sDh3SpNRGnuKg2V2nLOXU2Zdch13vP8UO4UEFGA/s1600/Lost+Souls.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bb9LJp0rK1DCbKm2r9-H7tbLOLrRh2g05z9gtMAQPDxNfTI0dV8XvVbAcVNr9fdfOgT6ZKp6dK8VKPF8RDBbc__kKBzhw_hyphenhyphenptC2sDh3SpNRGnuKg2V2nLOXU2Zdch13vP8UO4UEFGA/s400/Lost+Souls.jpg" height="238" width="400"></a></div>
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<b>Italy, 1989
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Directed by Umberto Lenzi
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Stefania Orsola Garello, Joseph Alan Johnson, Matteo Gazzolo, Laurentina Guidotti, Gianluigi Fogacci, Costantino Meloni, Licia Colò, Charles Borromel, Hal Yamanouchi, Dino Jaksic, Beni Cardoso, Massimo Sarchielli, Giulio Massimini, Fabio Branchini, Vincenzo Menniti, Fortunato Arena, Marina Reiner</b>
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Umberto Lenzi has long been one of my favorite Italian directors. His films range from excellent to utter nonsense but they’re always fun to watch. For my money’s worth, though, Lenzi was always better at making thrillers and cop movies than he was at making straight horror. Nevertheless, he’s made his share of horror, and after his haunted house flick <i>Ghosthouse</i> (1987) became a surprise hit and garnered a series of semi-sequels, Lenzi was approached to make two haunted house movies for television in 1989. The films would be part of a 4-movie package named ‘Houses of Doom’, with the other two films in the series being made by Lucio Fulci. Fulci made <i>The House of Clocks</i> and <i>The Sweet House of Horrors</i>, while Lenzi made <i>The House of Witchcraft</i> and <i>The House of Lost Souls</i> but ultimately the films were deemed too violent for television and were distributed on VHS instead.
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<i>Nice-looking sales sheet courtesy of Mediaset Distribution</i>
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<i>The House of Lost Souls</i> was both written and directed by Lenzi, and it tells the story of a group of young geologists studying fossils up in some Italian mountains. As the film starts they’re in the process of wrapping up and plan on heading back home the next morning. But one of the geologists, Carla (Stefania Orsola Garello), is having trouble sleeping because she is plagued by strange and disturbing visions. Flashing before her eyes are images of a ghoulish-looking Buddhist monk (Hal Yamanouchi) swinging an axe, a Buddha statue getting its head gorily smashed with an axe, a skeleton in a wheelchair, tarantulas crawling over someone’s face, and a little boy with blood on his hands.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MRmrzTDfjE_BB7Jv2yciE17jGUSPU_FaJYpu2yZrjf1l14BBFkv_mCVTBeYNpqRe4q8C1-2HI6414qMPKrsHmGOOXjW0A5nWvx0gWB3emYDwlxCGg5hn4BjLRfkp9Yo4-33PMOu1DGI/s1600/Lost+Souls+-+Vision5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MRmrzTDfjE_BB7Jv2yciE17jGUSPU_FaJYpu2yZrjf1l14BBFkv_mCVTBeYNpqRe4q8C1-2HI6414qMPKrsHmGOOXjW0A5nWvx0gWB3emYDwlxCGg5hn4BjLRfkp9Yo4-33PMOu1DGI/s400/Lost+Souls+-+Vision5.jpg" height="240" width="400"></a></div>
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<i>Carla has freaky visions</i>
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Carla screams in horror, and her boyfriend Kevin (Joseph Alan Johnson) comes rushing to her aide. “The doctors gave you a reasonable explanation. They said that you have psychic powers. You’re a medium!” he soothingly tells her. Mmmkay! I’d like to know just what kind of doctor told her that! But Carla won’t let herself be calmed down easily. “I don’t wanna be a medium! I don’t!” she complains.
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Anyway, the next morning the group embark on their long drive home, and we get acquainted with the rest of the gang, which consists of Carla’s handsome older brother Massimo (Matteo Gazzolo – dubbed by the ubiquitous Ted Rusoff), the wise-assed Guido (Gianluigi Fogacci), Guido’s girlfriend Mary (Laurentina Guidotti), and Carla and Massimo’s extremely annoying and badly dubbed kid brother Gianluca (Costantino Meloni). Unfortunately for the group, they discover that the roads are closed due to some landslides, and they’re forced to find somewhere to spend the night. Gianluca notices a sign pointing to the Hotel dell’Eremita – i.e. the hermit hotel – but when they get there, they find the desolate hotel looking crumbled and abandoned, with a sign reading ‘closed’. But as luck would have it, the lights suddenly come on and the hotel’s sinister-looking proprietor (Charles Borromel) appears. After a bit of consideration he reluctantly allows the youngsters to spend the night. Everybody’s thrilled – except Carla, who feels uneasy around the creepy hotel proprietor.
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</a> <i>The group meets the scary-looking hotel proprietor </i>
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Later that night, Carla experiences another one of her strange psychic visions. This time the visions manifest themselves through an old, unplugged television set – showing a scary-looking old guy killing a woman and her little son with an axe – and as Carla screams in terror, the TV explodes.
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<i>More weird visions</i>
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But Carla isn’t the only one to experience strange things. Little Gianluca is frightened when blood starts dripping from the lamp, and tarantulas come crawling into his bed. But did it really happen, or was it just a dream?
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However, the worst fate befalls Mary when she decides to peek inside the cold storage. What looks like a rotting zombie hand pushes her inside and quickly locks the door. Inside, there are two frozen corpses hanging from hooks, and poor Mary completely freaks out but none of the others are able to hear her desperate screams for help.
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<i>Frozen Terror</i>
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Fortunately, Mary is discovered and rescued just in time but there’s no sight of the two corpses. Did Mary just imagine seeing them? As a new day dawns, the groups finds that the roads are still closed – forcing them to remain at the spooky hotel. The mysterious hotel proprietor is nowhere to be found, the telephone cord has been cut, and there’s dust and cobwebs <i>everywhere</i>. It doesn’t look as if the hotel has been in use for a very long time, and indeed, all of the calendars on the walls are from 1969.
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<i>Somebody's cut the telephone cord...</i>
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Kevin and Massimo decide to drive into the small town to learn more about the history of the hotel, and discover that it’s been closed for 20 years, when it was revealed that the owner had a bad habit of beheading his guests with an axe. Apparently, the souls of his victims still reside in the hotel – ready to exact their revenge on anyone unfortunate enough to set foot there. And, naturally, the ghosts’ preferred method of disposing of the living is to cut their heads off...
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<i>The lost souls exact their revenge on the living</i>
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As far as haunted house movies go, <i>The House of Lost Souls</i> brings nothing new to the table. A stranded group seeking refuge in a creepy house with a macabre history, and undead souls haunting the place is stuff we've seen a thousand times before and Lenzi’s lazy rehashing of these tired clichés feels rather uninspired. The only fresh spin on the tale is Carla's psychic powers and her ability to see events from the past but, unfortunately, this plot point eventually turns out to be moot and inconsequential since all the other characters end up having visions too. It's a shame to waste a good idea like that but at least it gives Lenzi an excuse to throw in a couple of psychic visions, which are quite stylish and atmospheric.
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The characters are for the most part poorly written, and laced with dialogue and English dubbing which is every bit as silly as you’d expect from an Italian late 1980s horror movie. Unfortunately, the characters are also annoyingly stupid, and they constantly put themselves at risk by wandering off on their own as if they were actively looking for trouble. I suppose I can forgive that, seeing as such behavior is pretty much a given in horror films of this type. But what I cannot forgive is the fact that Lenzi is too damn lazy to properly trap his characters at the hotel. Yeah, the road leading back home is closed, but the road to the small friendly town they just passed through is not. It is clearly established that the ghosts are strictly confined to the hotel itself, so why on earth does the group choose to stick around and get murdered when they could hang out safely in the town while waiting for the roads to open!? This sort of cringe-worthy stupidity is detrimental to the film and makes it hard to care too much about any of the characters. Then again, it does make it all the more fun to see them get what’s coming to them, and Lenzi has fun chopping their heads off in various inventive ways.
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Amazingly enough, the first one to get killed is actually the annoying little kid brother! Yup, you read right: The kid gets killed – and in a pretty gruesome way too! In the film’s coolest scene by far, the ghosts’ supernatural powers cause him to get sucked into a washing machine, which slices his head right off! A decapitation by washing machine must surely be some kind of cinematic first and this is just the kind of inspired craziness we’ve come to admire Italian horror films for. In the late 1980s, Italian horror movie directors were apparently eager to kill annoying children in rather gruesome ways (see also Mario Bianchi’s <i>The Murder Secret</i>, 1988), and while it may sound a little awful to say so, unpolitically correct scenes like this work like an invigorating jolt of adrenaline.
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<i>This scene alone is worth the price of admission</i>
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Luckily, there’s more head slicing in store, because let’s face it, gory deaths are the bread and butter of film’s like this – weighing up for the predictable story and boring characters. And, thankfully, Lenzi gives us heads being lopped off by axe, knife, chainsaw and guillotine. None of it is as gory as one might expect, though, and the severed heads do not look entirely realistic but the beheadings nevertheless provide some much needed visceral thrills.
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<i>Ghostly mayhem</i>
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The score credited to Claudio Simonetti (under the anglicized name Claude King) consists entirely of music cribbed from earlier films scored by Simonetti – most notably <i>Demons</i> (1985) and <i>Bodycount</i> (1986) but there's also some stuff from <i>Opera</i> (1987) and <i>Dial: Help</i> (1988). The use of recycled music is a bit of a two-edged sword. On the one hand, the music is very good and atmospheric, but on the other hand, it serves as a constant reminder of how it was originally utilized to better effect in superior films.
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On a technical level, the production values are slightly lacking but the film is slickly shot and the cobwebbed, old hotel makes for a suitably atmospheric backdrop to the spooky going-ons. Lenzi also adds to the mood by throwing in a shower dripping blood, tarantulas, bear traps and lots of exploding bottles.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieJHuHYkE2B63sRXvVaHiW457ksYUw6_twQOKw-fvEYGf4AFN6mVuk8D1p1SZHFUnuDE3WCJB_j14SyQhcMw6MivWVfo2eoojAn8z1uSx71CqLfkTuIiwXrj8iJPuxrqwoypWC6Ymr_A/s1600/Lost+Souls+-+Bottle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieJHuHYkE2B63sRXvVaHiW457ksYUw6_twQOKw-fvEYGf4AFN6mVuk8D1p1SZHFUnuDE3WCJB_j14SyQhcMw6MivWVfo2eoojAn8z1uSx71CqLfkTuIiwXrj8iJPuxrqwoypWC6Ymr_A/s400/Lost+Souls+-+Bottle.jpg" height="240" width="400"></a></div>
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<i>The film boasts a fair share of stylish imagery</i>
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The acting isn’t really that great but to be fair to the actors, the script leaves them little to work with and saddles them with some pretty stupid dialogue (and dubbing), so it’s hard to properly evaluate them. Female lead Stefania Orsola Garello clearly tries the best she can, though, and delivers an adequate performance given the circumstances. Unfortunately, the film suffers somewhat from a lack of familiar faces. Some may recognize the male lead, American actor Joseph Alan Johnson, from Lucio Fulci’s infamous <i>The Ghosts of Sodom</i> (1988), but the rest of the main players will be largely unknown to most Euro cult viewers. A couple of familiar faces might have made the characters a bit more engaging. We do, however, get treated to appearances by Italian cinema’s most prolific Asian actor Hal Yamanouchi, bug-eyed character actor Charles Borromel and Jess Franco regular Beni Cardoso as some of the menacing ghosts. None of them have any dialogue and their limited screen time pretty much sees them putting on scary faces and waving knives or axes, but it’s still nice to have them around and they do look effectively sinister.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT3kiJucVyyu_MlNAffo3Zmaft3nCtf2d5rPKoFwEYFxvYyBRB99RAwVZ0h9HgOl-RJqt3yAb9YFggEfWYbvLCsgsBw6FH6o6Xb1hSLaodeMEHb4nEM2bCRFOR1BWYbjDHpadNMx_RxW4/s1600/Lost+Souls+-+Cool+Ghosts1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT3kiJucVyyu_MlNAffo3Zmaft3nCtf2d5rPKoFwEYFxvYyBRB99RAwVZ0h9HgOl-RJqt3yAb9YFggEfWYbvLCsgsBw6FH6o6Xb1hSLaodeMEHb4nEM2bCRFOR1BWYbjDHpadNMx_RxW4/s400/Lost+Souls+-+Cool+Ghosts1.jpg" height="238" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkiD3NNt4r9DjimF8Hqwe0a7EEu4z7GRXG54umUlq40cT9p3jv4T1eLBCR17UgmctbQP72IRdLFYRhuZ0rJNj06WBnhdf8YfQSvzrSfto_zQWydZWeqnw0pGihe4BeZd_ESDD3Rhon0u4/s1600/Lost+Souls+-+Cool+Ghosts2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkiD3NNt4r9DjimF8Hqwe0a7EEu4z7GRXG54umUlq40cT9p3jv4T1eLBCR17UgmctbQP72IRdLFYRhuZ0rJNj06WBnhdf8YfQSvzrSfto_zQWydZWeqnw0pGihe4BeZd_ESDD3Rhon0u4/s400/Lost+Souls+-+Cool+Ghosts2.jpg" height="238" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYkIr0HX-JWeU_5SbErE_sNiCUfklr3S7hmELxwaMMX744I9HFjBc-ImxMMqHq2lSnH0GOJ3Ic8zh9Ino72krPRocwaczjph5nePem8Q_I3ct7m1-NpeRVlmrvXiCrfUs_QcKo7aCWEWE/s1600/Lost+Souls+-+Cool+Ghosts3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYkIr0HX-JWeU_5SbErE_sNiCUfklr3S7hmELxwaMMX744I9HFjBc-ImxMMqHq2lSnH0GOJ3Ic8zh9Ino72krPRocwaczjph5nePem8Q_I3ct7m1-NpeRVlmrvXiCrfUs_QcKo7aCWEWE/s400/Lost+Souls+-+Cool+Ghosts3.jpg" height="238" width="400"></a></div>
<div style="text-align: center;">
<i>The best acting is done by the walking dead</i>
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In the end, <i>The House of Lost Souls</i> is a pretty unoriginal affair – marred by an uninspired script and characters who behave annoyingly stupid. It does have its cheesy charms, however, and the creepy ghosts, stylish visions and inventive decapitations keep it interesting. If you liked <i>Ghosthouse</i> and the rest of Lenzi’s late 80s efforts you’ll probably enjoy this one too.
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© 2013 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSP-rI1QrZmRI2XoMZG8Z68j-7izfD0DcP-xHns-GuaTOT758NHaqzVHN8i4kxTnjOQsTV0gWVp12trb4EcYrqHzj6zwMB1NThz6h4ZlYrffrIskoAbs__EyBr5B25n74BE0UqQ04DiUs/s1600/Lost+Souls+-+Stefania+Orsola+Garello.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSP-rI1QrZmRI2XoMZG8Z68j-7izfD0DcP-xHns-GuaTOT758NHaqzVHN8i4kxTnjOQsTV0gWVp12trb4EcYrqHzj6zwMB1NThz6h4ZlYrffrIskoAbs__EyBr5B25n74BE0UqQ04DiUs/s400/Lost+Souls+-+Stefania+Orsola+Garello.jpg" height="240" width="400"></a></div>
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<i>Stefania Orsola Garello as Carla</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsB1pxVh01T7H4Os0nQsoojr3Xi5suW30Z-aqu1LQ6D_dNCH7HWU_Z8GURMdMKiwazmibcMWEABEv6lV0arHlp3C8b6K-jHrmyYEC1CDgi3KkhglXmL6F8EuaCJO2L4V_lOmJkHkJJwrM/s1600/Lost+Souls+-+Joseph+Alan+Johnson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsB1pxVh01T7H4Os0nQsoojr3Xi5suW30Z-aqu1LQ6D_dNCH7HWU_Z8GURMdMKiwazmibcMWEABEv6lV0arHlp3C8b6K-jHrmyYEC1CDgi3KkhglXmL6F8EuaCJO2L4V_lOmJkHkJJwrM/s400/Lost+Souls+-+Joseph+Alan+Johnson.jpg" height="238" width="400"></a></div>
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<i>Joseph Alan Johnson as Kevin</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihta0deiZKMBNDpc3GUXYwNMLk8SXwF64WQ1_MDXuSOGRXtaTELt6Mm3QGb8J5M-2RyucaeNXUwEn91J22xVa9jHjEKVgukVg1L4xMILvN6-KwyMTD-ll6gogac36WlIK6SVhifHZ_f2g/s1600/Lost+Souls+-+Matteo+Gazzolo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihta0deiZKMBNDpc3GUXYwNMLk8SXwF64WQ1_MDXuSOGRXtaTELt6Mm3QGb8J5M-2RyucaeNXUwEn91J22xVa9jHjEKVgukVg1L4xMILvN6-KwyMTD-ll6gogac36WlIK6SVhifHZ_f2g/s400/Lost+Souls+-+Matteo+Gazzolo.jpg" height="240" width="400"></a></div>
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<i>Matteo Gazzolo as Massimo</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMOe_64Va_roFVeXCesy_zBOt4VI-_lENgrsvWpp1__SAGpXByYBbHmSMWIA342WaTGrxFa6qf8myfq6IbISx6Av3sRiAhGPgcCtGMgNx1lOKQ6Fb9Erk8zZB3HrXxRrNUvBGMw1qSNEw/s1600/Lost+Souls+-+Laurentina+Guidotti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMOe_64Va_roFVeXCesy_zBOt4VI-_lENgrsvWpp1__SAGpXByYBbHmSMWIA342WaTGrxFa6qf8myfq6IbISx6Av3sRiAhGPgcCtGMgNx1lOKQ6Fb9Erk8zZB3HrXxRrNUvBGMw1qSNEw/s400/Lost+Souls+-+Laurentina+Guidotti.jpg" height="238" width="400"></a></div>
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<i>Laurentina Guidotti as Mary</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAAdMfJZn7NjlbK00NqJj14rC7TWZdxstvGsiOIhyphenhyphenxYk-_cNzhACbLwZQnvfDpd4nKnH8TYIzVUa896PGfMEELucNZsf8j6k5_SEqA-0R6gwwu8cMlezoTfZ5_GghZxbk7SxqBx4yxPbM/s1600/Lost+Souls+-+Gianluigi+Fogacci.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAAdMfJZn7NjlbK00NqJj14rC7TWZdxstvGsiOIhyphenhyphenxYk-_cNzhACbLwZQnvfDpd4nKnH8TYIzVUa896PGfMEELucNZsf8j6k5_SEqA-0R6gwwu8cMlezoTfZ5_GghZxbk7SxqBx4yxPbM/s400/Lost+Souls+-+Gianluigi+Fogacci.jpg" height="240" width="400"></a></div>
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<i>Gianluigi Fogacci as Guido</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsrjO9t8rpsdVARqBkwJqMUYjZ9VA_zGgDibT3qk9APeB0DVhMb0cdGgAscnzL4yKwIPuqpCiqRKC5KW8EYvVoQn_5wdzgS2nhcTuPLiJgWKvSCaA32RSvN9-VGGpMoJxvz-m_Xz4-EE/s1600/Lost+Souls+-+Costantino+Meloni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsrjO9t8rpsdVARqBkwJqMUYjZ9VA_zGgDibT3qk9APeB0DVhMb0cdGgAscnzL4yKwIPuqpCiqRKC5KW8EYvVoQn_5wdzgS2nhcTuPLiJgWKvSCaA32RSvN9-VGGpMoJxvz-m_Xz4-EE/s400/Lost+Souls+-+Costantino+Meloni.jpg" height="240" width="400"></a></div>
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<i>Costantino Meloni as Gianluca</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh13m_muFtaS15CiM9jz7Hnv-1J8S8McO_YRyHUWJP1KoSSBpIbjeD9Fi7nmj73bO-bDuwcU6zeolCVQITY_1LPS7qY7yKSyd4hq3PyIAqvoHYVE9yypr6l9DUYHuTq2qsvhrT77eqk-Xc/s1600/Lost+Souls+-+Licia+Colo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh13m_muFtaS15CiM9jz7Hnv-1J8S8McO_YRyHUWJP1KoSSBpIbjeD9Fi7nmj73bO-bDuwcU6zeolCVQITY_1LPS7qY7yKSyd4hq3PyIAqvoHYVE9yypr6l9DUYHuTq2qsvhrT77eqk-Xc/s400/Lost+Souls+-+Licia+Colo.jpg" height="238" width="400"></a></div>
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<i>Licia Colò as Daria</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiIqMIksEJ2erto4AWcgbIH5k5yb9-xpqD_mrFajdOBhOTDTdSYVZSOe7nxbhpcF-xZoJwFIE1wFgFftqkToormqwChKGgGJowgpzMvLxWDDitbEsaqXdxMe9JzHzbJ9hHqVORA8jdj1Y/s1600/Lost+Souls+-+Charles+Borromel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiIqMIksEJ2erto4AWcgbIH5k5yb9-xpqD_mrFajdOBhOTDTdSYVZSOe7nxbhpcF-xZoJwFIE1wFgFftqkToormqwChKGgGJowgpzMvLxWDDitbEsaqXdxMe9JzHzbJ9hHqVORA8jdj1Y/s400/Lost+Souls+-+Charles+Borromel.jpg" height="240" width="400"></a></div>
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<i>Charles Borromel as Eraldo Covatta, a lost soul</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7DXpExfF2niizVPrHsRW3_8xlU8omtebJMGcyj9t9Ho-W9EgBg2kWr_rx1rbwYFnaQAKErwR1oeulVwKM8ZQU4KGiWjU5dllvB9JGgSL-7CghtPPVLPRwt0rf-14wbpdCmupkStQlgcM/s1600/Lost+Souls+-+Hal+Yamanouchi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7DXpExfF2niizVPrHsRW3_8xlU8omtebJMGcyj9t9Ho-W9EgBg2kWr_rx1rbwYFnaQAKErwR1oeulVwKM8ZQU4KGiWjU5dllvB9JGgSL-7CghtPPVLPRwt0rf-14wbpdCmupkStQlgcM/s400/Lost+Souls+-+Hal+Yamanouchi.jpg" height="240" width="400"></a></div>
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<i>Hal Yamanouchi as Asha Krisna, a lost soul</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ-J5EyaYULRuNoI7NA5yxOyMwiV86D7baWODaL1-BPJe6hPuqF0UmdDL5uOTy7vF4tPqEAfjGshsjtfgjxLJgHjSppKQZ6bl9T5kB_La-vgxWd4Fk9jBfnFyRBAEeSO_-T_HrD82qXEA/s1600/Lost+Souls+-+Dino+Jaksic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ-J5EyaYULRuNoI7NA5yxOyMwiV86D7baWODaL1-BPJe6hPuqF0UmdDL5uOTy7vF4tPqEAfjGshsjtfgjxLJgHjSppKQZ6bl9T5kB_La-vgxWd4Fk9jBfnFyRBAEeSO_-T_HrD82qXEA/s400/Lost+Souls+-+Dino+Jaksic.jpg" height="238" width="400"></a></div>
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<i>Dino Jaksic as Isacco Levi, a lost soul</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVApLk6-g9BVBT6O5Ofons8KB-KzN3vz928GZBfEfw1iSzx_Oi4cMDWQgm0VY_DHapUmiIe61RVIXki2jgv9H0hI7drAW5_0zuHNR9X9SwR29Ki0IQDgMzKgzFXPIOp0YkfNZjvw0-zj4/s1600/Lost+Souls+-+Beni+Cardoso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVApLk6-g9BVBT6O5Ofons8KB-KzN3vz928GZBfEfw1iSzx_Oi4cMDWQgm0VY_DHapUmiIe61RVIXki2jgv9H0hI7drAW5_0zuHNR9X9SwR29Ki0IQDgMzKgzFXPIOp0YkfNZjvw0-zj4/s400/Lost+Souls+-+Beni+Cardoso.jpg" height="240" width="400"></a></div>
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<i>Beni Cardoso as Rebecca Levi, a lost soul</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTgkgczaIWwg3wyDOMLErSnXS_UKzFw8KnGX1jOt09NScw8FTPqSsDstV7tUwFR7IfprVUUNGIvbuS66wuYSbyRbWk4KKQrJR286Vo2axf2gpy05-AYPYw1qk2YWgPnxirLUB8lSuCL6k/s1600/Lost+Souls+-+Massimo+Sarchielli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTgkgczaIWwg3wyDOMLErSnXS_UKzFw8KnGX1jOt09NScw8FTPqSsDstV7tUwFR7IfprVUUNGIvbuS66wuYSbyRbWk4KKQrJR286Vo2axf2gpy05-AYPYw1qk2YWgPnxirLUB8lSuCL6k/s400/Lost+Souls+-+Massimo+Sarchielli.jpg" height="238" width="400"></a></div>
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<i>Massimo Sarchielli as Cemetery Caretaker</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUS9qsFHOeYfm7A17AJNkHZ9YjGylkv_IfKpEFosZJCF8VBds9mH4veX235pa7QgLQWhtgpL99hOX0UPO4Gm9TqwCnu7JHbsnH47ZABAGgct7iiYDzAlTP2RpkbhxWmddIn3Mq748lTsI/s1600/Lost+Souls+-+Cameraman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUS9qsFHOeYfm7A17AJNkHZ9YjGylkv_IfKpEFosZJCF8VBds9mH4veX235pa7QgLQWhtgpL99hOX0UPO4Gm9TqwCnu7JHbsnH47ZABAGgct7iiYDzAlTP2RpkbhxWmddIn3Mq748lTsI/s400/Lost+Souls+-+Cameraman.jpg" height="238" width="400"></a></div>
<div style="text-align: center;">
<i>??? as Daria’s Cameraman</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpoClRqi9WiLQzX0XA_fv0BjVM7ni9EBU8-36ycW0UThpqvz7p5piD-l9HVZhYFDAeZKu-YEdjm9AReHdhuvls3m85AeZGJGadqFsVL_lehSCrtV7Q9OM3sPX6VEGHEBMbN1j6T5oYCew/s1600/Lost+Souls+-+Gas+Station+Attendant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpoClRqi9WiLQzX0XA_fv0BjVM7ni9EBU8-36ycW0UThpqvz7p5piD-l9HVZhYFDAeZKu-YEdjm9AReHdhuvls3m85AeZGJGadqFsVL_lehSCrtV7Q9OM3sPX6VEGHEBMbN1j6T5oYCew/s400/Lost+Souls+-+Gas+Station+Attendant.jpg" height="240" width="400"></a></div>
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<i>??? as Gas Station Attendant</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaUYfCirF4YA6ZVWZiCD9cmLqYF4btkNGkhs6jnW_ngkLLlUiGlXqitxmor1oh2RY0AFZ3E9zyc04qclmjipXmZL-cfsyX6ndcKGQXEXPZc7XtPpRcBgUKmlf2ClhbMriUDM7Dy7S5ZM/s1600/Lost+Souls+-+Giulio+Massimini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaUYfCirF4YA6ZVWZiCD9cmLqYF4btkNGkhs6jnW_ngkLLlUiGlXqitxmor1oh2RY0AFZ3E9zyc04qclmjipXmZL-cfsyX6ndcKGQXEXPZc7XtPpRcBgUKmlf2ClhbMriUDM7Dy7S5ZM/s400/Lost+Souls+-+Giulio+Massimini.jpg" height="240" width="400"></a></div>
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<i>Giulio Massimini as Librarian</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcS9XVJslGDB8XN55nD8u2jN1Cj6CRPAjOEy58RVOd9DyQ9cCbmpuRNu6DE388SoGuvW73X_GjnnPAi0gy3_59SLzodAcImyk9aIjD4PDaQNu9_GEwDtDchkChm3nUfdh95GSTeQsbd-Y/s1600/Lost+Souls+-+Maresciallo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcS9XVJslGDB8XN55nD8u2jN1Cj6CRPAjOEy58RVOd9DyQ9cCbmpuRNu6DE388SoGuvW73X_GjnnPAi0gy3_59SLzodAcImyk9aIjD4PDaQNu9_GEwDtDchkChm3nUfdh95GSTeQsbd-Y/s400/Lost+Souls+-+Maresciallo.jpg" height="238" width="400"></a></div>
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<i>??? as Maresciallo</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJBXroSVut-WFryRyO3oi3KwnxW61yxorGfzkaiPY_FhFfDIFVFjNqo6Armur6uvg6owbAE_g9TR5Psns5jpZw629XR5jU2G1z3wUbfBzgRPN7JphV1sgspZnGW3cMzuock8wx6HwWzmQ/s1600/Lost+Souls+-+Fortunato+Arena.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJBXroSVut-WFryRyO3oi3KwnxW61yxorGfzkaiPY_FhFfDIFVFjNqo6Armur6uvg6owbAE_g9TR5Psns5jpZw629XR5jU2G1z3wUbfBzgRPN7JphV1sgspZnGW3cMzuock8wx6HwWzmQ/s400/Lost+Souls+-+Fortunato+Arena.jpg" height="240" width="400"></a></div>
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<i>Fortunato Arena as Alcide Nardi</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFu98Lv98-92-hFeGvvNBxjHtwlCw6PzT4CvdKJwncgymr9VNRuZBV366pZOgF3i4q8Fpsy0JLFKcCmGJ0OxGy-VkFDMm7SjNho5uCHi69aLsDXR7HypxrDTusF0W_yhd8IY4sFkt6H9A/s1600/Lost+Souls+-+Marina+Reiner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFu98Lv98-92-hFeGvvNBxjHtwlCw6PzT4CvdKJwncgymr9VNRuZBV366pZOgF3i4q8Fpsy0JLFKcCmGJ0OxGy-VkFDMm7SjNho5uCHi69aLsDXR7HypxrDTusF0W_yhd8IY4sFkt6H9A/s400/Lost+Souls+-+Marina+Reiner.jpg" height="240" width="400"></a></div>
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<i>Marina Reiner as Gina Brandini, a lost soul</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-65549932707068063532013-02-03T18:15:00.000-08:002015-01-31T09:45:41.343-08:00Delitti<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeLKmMzvDgzS8_kJQ7gIJEVFw-1FJt6uQd-U6hwBbdivLwpVBS6qTlZj1zPLjTcyVxVL9a87UXUabcoP1z6kQDS53gRJ4fbBnWjH_ti7LX1D3H0lJ_gNrZ5BQNlVZy2XR_YDJMzOUjJi8/s1600/Delitti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeLKmMzvDgzS8_kJQ7gIJEVFw-1FJt6uQd-U6hwBbdivLwpVBS6qTlZj1zPLjTcyVxVL9a87UXUabcoP1z6kQDS53gRJ4fbBnWjH_ti7LX1D3H0lJ_gNrZ5BQNlVZy2XR_YDJMzOUjJi8/s400/Delitti.jpg" width="400" /></a></div>
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<b>Italy, 1986
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Directed by Giovanna Lenzi (with supervision by Sergio Pastore)
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Cast:
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Saverio Vallone, Jeannette Len [Giovanna Lenzi], Tony Valente, Michela Miti, Gianfranco Gallo, Louis Dek [Luigi D’Ecclesia], Debora Ergas, Alessandra Izzo, Giorgio Ardisson, Michel Clinford, Laura Troschel, Remo Capitani, Solvi Stubing, Gianni Dei, Lara Orfei, Sacha Maria Darwin, Vittorio Forte, Emy Valentino, Alessandro Croce, Simonetta Gallese, Giovanni Nardoni
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and
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Linda Christian</b>
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Sergio Pastore (1932-1987) was one of Italy’s strangest directors. He churned out no small number of interesting genre films, yet practically all of them seem to have vanished into complete obscurity and are impossible to get hold of. His debut film, the giallo <i>Omicidio a sangue freddo</i> (1967) with Rita Calderoni, was never released; his wonderfully titled western <i>Chrysanthemums for a Bunch of Swine</i> (1968) is generally considered to be <i>the</i> rarest Italo-western; and his erotic films <i>Diario proibito di Fanny</i> (1969) and <i>Occhio alla vedova!</i> (1976) are equally elusive. The only exception is his most famous film, the enjoyable giallo <strong><em><a href="http://euro-fever.blogspot.com/2014/12/the-crimes-of-black-cat7-scialli-di.html">The Crimes of the Black Cat</a></em></strong> (1972), which did receive some fair worldwide distribution.
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While Pastore’s output from the 1960s and 70s appears to have been made with decent funds, his films from the 1980s were apparently made more or less for nothing. They consist mostly of oddities which were sometimes based on literary sources, such as <i>La donna del mare</i> (1984) – freely inspired by Ibsen’s “The Lady from the Sea” – and are as unobtainable as Pastore’s earlier films. Once again, the only notable exception is a giallo, <i>Delitti</i>. While hardly a widely distributed film (an English dub does not appear to exist), it did at least get an Italian VHS release. <i>Delitti</i> is not a true Sergio Pastore film, though, as it was actually directed by his wife, actress Giovanna Lenzi, who starred in nearly all of her husband’s films under the anglicized pseudonym Jeannette Len, and who wrote all of his films from the 1980s. Since Lenzi had never directed before, Pastore supervised the direction (under the pseudonym Serge Vidor) but <i>Delitti</i> nevertheless stands as the first – and so far only – giallo to have been directed by a woman.
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‘Delitti’ translates to ‘crimes’ in English and it is with a crime that it all begins. A man has been killed during a lurid sex party which he himself was hosting, and the police are baffled to find that the man’s face has been completely mummified. After some examination, a young medical examiner concludes that the victim was killed by a poison made from coffee and uric acid. The two ingredients are harmless together but when mixed with sugar it produces hydrogen cyanide in the body – resulting in near instant death and the mummification of the victim’s face!!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4CdqaojnCyb3mE_3qnHvJkarCNcYC8om414mHXVbjhpWKTU3TNt38JoR3UbZYElJRTIL3EZD4h-MOVEuAEgK9bSSbg4D6Ynt67D-OGPp7PSr7LRelqtiQkrvu2-xiihoOnaQ5RmTD3w/s1600/Delitti+-+First+Victim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL4CdqaojnCyb3mE_3qnHvJkarCNcYC8om414mHXVbjhpWKTU3TNt38JoR3UbZYElJRTIL3EZD4h-MOVEuAEgK9bSSbg4D6Ynt67D-OGPp7PSr7LRelqtiQkrvu2-xiihoOnaQ5RmTD3w/s400/Delitti+-+First+Victim.jpg" width="400" /></a></div>
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<i>The grotesquely mummified corpse</i>
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In charge of the investigation is the experienced Inspector Sanders, who sets about interviewing the various participants from the sex party. He’s particularly interested in talking to a sleazy midget named Jimmy (Luigi D’Ecclesia – credited as "Louis Dek"), who was filming a bit during the party. Inspector Sanders hopes that the footage will provide a clue to the killer’s identity, but rather than ask Jimmy to see it he comes barging in on him while he’s getting it on in bed with his sexy girlfriend (Emy Valentino). Jimmy makes a run for it, and after a hilarious fight with the inspector, the little man manages to escape.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg5NW6IZAU-8jf0rjVG2OdfJGFm3rPcdMii0HpoGH8-bGAjxWPmQRym4g4awPRpe0KwcEYPAdQj-d0aZdXT26-fdw-pGQZpOhIvckGYCBJyBPSxVX79edC82snOI-0ijNu125LZcRkARA/s1600/Delitti+-+Inspector.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg5NW6IZAU-8jf0rjVG2OdfJGFm3rPcdMii0HpoGH8-bGAjxWPmQRym4g4awPRpe0KwcEYPAdQj-d0aZdXT26-fdw-pGQZpOhIvckGYCBJyBPSxVX79edC82snOI-0ijNu125LZcRkARA/s400/Delitti+-+Inspector.jpg" width="400" /></a></div>
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<i>Inspector Sanders leads the investigation</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg787q-5bpAhZw5RsEKNSdAHIhZNLjit7AVVHDb7W9c-JZlQ06Zo9O-MMH0ghhIw2qqUErV0w2HqNTTCYKS4SnJ3vihya3TWQb7JluhX5ptkh-q3tZL4KMxkPvewKeN7QXefQgVlw7NHI/s1600/Delitti+-+Midget1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg787q-5bpAhZw5RsEKNSdAHIhZNLjit7AVVHDb7W9c-JZlQ06Zo9O-MMH0ghhIw2qqUErV0w2HqNTTCYKS4SnJ3vihya3TWQb7JluhX5ptkh-q3tZL4KMxkPvewKeN7QXefQgVlw7NHI/s400/Delitti+-+Midget1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cEuQwPdTV2C0j3FGSomjY_6K8i-i1QrNymPFkaOYgDBsrJVDyUwZXI70UeP4YLWXRuKkKrU7lbDcm2jH5joYZ_KrpQXsuCAeZ4EGif4423bZpvyySn54LLRGfxUTj-eO8dAxal5D_Is/s1600/Delitti+-+Midget2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cEuQwPdTV2C0j3FGSomjY_6K8i-i1QrNymPFkaOYgDBsrJVDyUwZXI70UeP4YLWXRuKkKrU7lbDcm2jH5joYZ_KrpQXsuCAeZ4EGif4423bZpvyySn54LLRGfxUTj-eO8dAxal5D_Is/s400/Delitti+-+Midget2.jpg" width="400" /></a></div>
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<i>Jimmy the midget gets hassled by the temperamental inspector</i>
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The annoyed inspector instead meets Jimmy’s girlfriend at a nightclub and tries to get her to reveal what Jimmy told her about the happenings at the party. Unfortunately, the mysterious black-gloved killer is able to spike the girl’s coffee with the deadly poison, and before she can tell Inspector Sanders what she knows, the girl takes a deadly sip. The poison quickly kills her and mummifies her face – but not before she writhes around on the floor in agony long enough for her top to slide down and her breasts to come jutting out!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVaNoekAlsPHiQ6iOl2Zm7CY4ICjhwDIZ6CCDYpl8TKzBxvBVgVz3vO6HvAM_YpLxPpZ-w4BlBjh-zLg7KBPWliHJjr2XCZVbdWmQcd3ouPc5JTY0RTwiqlXrU7D4R4ztH0hwnJZp9NU/s1600/Delitti+-+Coffee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVaNoekAlsPHiQ6iOl2Zm7CY4ICjhwDIZ6CCDYpl8TKzBxvBVgVz3vO6HvAM_YpLxPpZ-w4BlBjh-zLg7KBPWliHJjr2XCZVbdWmQcd3ouPc5JTY0RTwiqlXrU7D4R4ztH0hwnJZp9NU/s400/Delitti+-+Coffee.jpg" width="400" /></a></div>
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<i>The black-gloved killer poisons the coffee while an inevitable J&B bottle is on display in the background</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE5XTXeiih72DxQba79IzvfJV5u8yCH_jawTGhPjLlmd0ECBCPMaKy3edDopqazNPoN0L08dj_yq2KRmdDBUSvEBLKcwuliYg9iOdS_d5biBERRMDDfdtFNfScXtB-Fdd4ILe8d6fQkA/s1600/Delitti+-+Coffee2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE5XTXeiih72DxQba79IzvfJV5u8yCH_jawTGhPjLlmd0ECBCPMaKy3edDopqazNPoN0L08dj_yq2KRmdDBUSvEBLKcwuliYg9iOdS_d5biBERRMDDfdtFNfScXtB-Fdd4ILe8d6fQkA/s400/Delitti+-+Coffee2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTBSpB-rGTyAJnQkyr95AX6mfCYRe7R79f_lJbwgUq38HsC7uyqKibkGAKQnAhYWpSnxr-knjSjTr_RKLtXmwIRJYtlEt-DsaqdoVqblzCF8bwN5b4c_SH6zLvisjEPCXqtiVzdU5dug/s1600/Delitti+-+Coffee3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTBSpB-rGTyAJnQkyr95AX6mfCYRe7R79f_lJbwgUq38HsC7uyqKibkGAKQnAhYWpSnxr-knjSjTr_RKLtXmwIRJYtlEt-DsaqdoVqblzCF8bwN5b4c_SH6zLvisjEPCXqtiVzdU5dug/s400/Delitti+-+Coffee3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJruYLomExyKTFfY7WfrpF1b_a8pF3CHWAL3LWgVHhXiVfEAgcxY6R-zqgrmGlumOwnsaeg9ODI1R5fIgZlnXtSXipH1WncrFyjw0byoDI9iZYk_AaCAqWicSSDtrMY8PL_QiJ_JHsrs/s1600/Delitti+-+Coffee4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJruYLomExyKTFfY7WfrpF1b_a8pF3CHWAL3LWgVHhXiVfEAgcxY6R-zqgrmGlumOwnsaeg9ODI1R5fIgZlnXtSXipH1WncrFyjw0byoDI9iZYk_AaCAqWicSSDtrMY8PL_QiJ_JHsrs/s400/Delitti+-+Coffee4.jpg" width="400" /></a></div>
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<i>The deadly poison works its wonders</i>
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In the meantime, Bob Rawling (Saverio Vallone), a handsome playboy, journalist, photographer <i>and</i> mystery novel writer, is also taking an interest in the case, and does some amateur sleuthing by looking into people connected to the first victim, Harry Francis (Gianni Dei), who it turns out was a transsexual. Harry nevertheless had a girlfriend named Julie Garrett (played by director Giovanna Lenzi herself under her usual "Jeannette Len" moniker), who is heartbroken by his death. Julie tells Bob that Harry didn’t really confide in her too much but that he was very close to his sister Mirta (Laura Troschel). Perhaps <i>too</i> close, she alludes.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4YRN2jIEHCvqC7Zg7u3pVx5IEdRB9ymCBGceqDkEwTOC8T2c2gHXsA6Oy5CDgk30CU5OE8GjgZLuD3COv1zar6q0E-vz1ynlVv-ena5YM6P6_TiJ8oy2VNGNqzhFLFKCa2O9iqWB7F8/s1600/Delitti+-+Bob.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4YRN2jIEHCvqC7Zg7u3pVx5IEdRB9ymCBGceqDkEwTOC8T2c2gHXsA6Oy5CDgk30CU5OE8GjgZLuD3COv1zar6q0E-vz1ynlVv-ena5YM6P6_TiJ8oy2VNGNqzhFLFKCa2O9iqWB7F8/s400/Delitti+-+Bob.jpg" width="400" /></a></div>
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<i>Bob the amateur detective</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UDTazN6lwYhQEFJo-pSX5YDnMOcWwkI9Lfh4BwFeX8eoyyWi8TBJxAOtLlbvmnQta3yxmMnvvWUNwo4qM9i2u8fz_PqXCvIsPr1VLEuTBGuUeorkcxT-tpsWEsXaHjg8txHIHB3SbFM/s1600/Delitti+-+Julie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UDTazN6lwYhQEFJo-pSX5YDnMOcWwkI9Lfh4BwFeX8eoyyWi8TBJxAOtLlbvmnQta3yxmMnvvWUNwo4qM9i2u8fz_PqXCvIsPr1VLEuTBGuUeorkcxT-tpsWEsXaHjg8txHIHB3SbFM/s400/Delitti+-+Julie.jpg" width="400" /></a></div>
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<i>Giovanna Lenzi casts herself as the grieving Julie</i>
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Julie, too, is eager to catch Harry’s killer and starts snooping around a bit on her own, and there’s no shortage of suspects to look into. Aside from Harry’s mysterious sister there is also William Becker (Gianfranco Gallo), who owns the villa where the sex party was held, and who has an affinity for wearing black leather gloves and behaving suspiciously. William’s buxom girlfriend Betty (Michela Miti), an aspiring actress whose favorite pastime is to entice her boyfriend with long stripteases, was present at the sex party and may not be as innocent as she appears. Other suspicious characters from the party include the shapely blonde Susan (Debora Ergas), who is acting curiously nervous, and Susan’s aggressive friend Helen (Alessandra Izzo) and her chubby, mustachioed boyfriend Rhett, who seem to be harboring some dark secret.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAF82s5kUzwIKvgxpL_l4k8fQtNBcXLcXHBg-s-hwnZZu5inN30TTiPtw2WIm5XJuBvVFmXjR8cIDxZZVQo-m_brLajlg_Uw-U3qCv81jn5jdZSQcMlg7ZYhipDcuZwuc4hqy0kjv-mE0/s1600/Delitti+-+Sex+With+Pants.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAF82s5kUzwIKvgxpL_l4k8fQtNBcXLcXHBg-s-hwnZZu5inN30TTiPtw2WIm5XJuBvVFmXjR8cIDxZZVQo-m_brLajlg_Uw-U3qCv81jn5jdZSQcMlg7ZYhipDcuZwuc4hqy0kjv-mE0/s400/Delitti+-+Sex+With+Pants.jpg" width="400" /></a></div>
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<i>William and his nympho girlfriend Betty are two of the possible suspects. And, yeah, this is one of those silly movies where the men always keep their pants on during sex!</i>
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Meanwhile, the mysterious masked and black-gloved killer continues to bump off anyone with a connection to Harry and the party. The killer’s modus operandi changes a bit, however, as he begins favoring strangling or knocking his victims unconscious before whipping out an extremely poisonous snake that bites them and causes their faces to mummify.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmtRhrW16JIsCd3O3eKiWeHhOC70_1WcCiFp7SztEe1vGkDT7qm6fvsWdEPYehKDakmXrcD8zKhm5LFpEi30XuSS98Ip6tfgdaGsDsut2k34uSoKfpQVjbCJMpz0_6Up5Anjl_f5CE25k/s1600/Delitti+-+Killer+Strikes3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmtRhrW16JIsCd3O3eKiWeHhOC70_1WcCiFp7SztEe1vGkDT7qm6fvsWdEPYehKDakmXrcD8zKhm5LFpEi30XuSS98Ip6tfgdaGsDsut2k34uSoKfpQVjbCJMpz0_6Up5Anjl_f5CE25k/s400/Delitti+-+Killer+Strikes3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHDFH5ueWCJJ_90M6gF6VK43bfKJ1XkAA5LbrSyH4pcJu0Gf9WxPzh64RDol5hlUsOyvp2IVa08bH3T_XEoAeV8vXsxJPMb3JcThBnhDBZ6X1cj7cfvPRp9W-uRK4fDaPte_9jSWKfMdU/s1600/Delitti+-+Killer+Strikes4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHDFH5ueWCJJ_90M6gF6VK43bfKJ1XkAA5LbrSyH4pcJu0Gf9WxPzh64RDol5hlUsOyvp2IVa08bH3T_XEoAeV8vXsxJPMb3JcThBnhDBZ6X1cj7cfvPRp9W-uRK4fDaPte_9jSWKfMdU/s400/Delitti+-+Killer+Strikes4.jpg" width="400" /></a></div>
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<i>The bizarre killings continue</i>
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Wow! Where do I begin with this one? Before watching <i>Delitti</i> I’d heard a few things about it – none of them good – so I knew going in that this wasn’t going to be a great film. But even with my expectations set very low, I still wasn’t prepared for what was to come. <i>Delitti</i> is without a doubt one of the absolute worst films to come out of Italy. It is so irredeemably awful, cheap-looking and incompetently put together that it makes even the worst of the “Lucio Fulci presents”-movies look like masterpieces by comparison.
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Everything in the film is an utter failure – starting with the laughable special effects, if one can call them that. Clearly, there wasn’t any room in the budget for effects, and hence the scenes were the snake poison mummifies the victims’ faces are achieved by using a fisheye lens to distort the actors’ faces and then cutting in some quick images of what looks like cheap, home-made Halloween masks which Lenzi and Pastore probably got at a discount at a garage sale. These so-called effects are utterly pathetic and impossible to take seriously but they are certainly good for some great laughs.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC7gVpZt7luz6sf5bIaTlu1kHcNbbiz80cleAH77ddYJ0Z1EbZUpWQxj0Ub65HT-U0756vtWFBAuEPuZq0jt2nX93nQV_VFhUTmoL4rLyb-hPEf1zaeTEMkg-XHQSEFG-r7D64BhmhqQ/s1600/Delitti+-+Mummification2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC7gVpZt7luz6sf5bIaTlu1kHcNbbiz80cleAH77ddYJ0Z1EbZUpWQxj0Ub65HT-U0756vtWFBAuEPuZq0jt2nX93nQV_VFhUTmoL4rLyb-hPEf1zaeTEMkg-XHQSEFG-r7D64BhmhqQ/s400/Delitti+-+Mummification2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdKhN1wGERKLfTPkxZE66TFJeoi7H-18kjIZScuHBiVQTuZISUod9i2dwJMfzmQCcR83o2GMDa5afycurFP1PxFTiD31Lv-aBgAYbc4_5uKb7CyOGfnuczTFXIfA0059GdrIwGlXU8nfI/s1600/Delitti+-+Mummification3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdKhN1wGERKLfTPkxZE66TFJeoi7H-18kjIZScuHBiVQTuZISUod9i2dwJMfzmQCcR83o2GMDa5afycurFP1PxFTiD31Lv-aBgAYbc4_5uKb7CyOGfnuczTFXIfA0059GdrIwGlXU8nfI/s400/Delitti+-+Mummification3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgILiWikiQRye2yXHCl8PJ6QSY7zBUEOGNNCDWe76QL74QQ5IaOz6IannTmluIJYgcTacW_mBUucQeIDHuIuqCMvpTg-TJ5ToSETLlzyphZlHdfhIvvDHyStn1RyonjbD9f4Y22clKbCuo/s1600/Delitti+-+Mummification4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgILiWikiQRye2yXHCl8PJ6QSY7zBUEOGNNCDWe76QL74QQ5IaOz6IannTmluIJYgcTacW_mBUucQeIDHuIuqCMvpTg-TJ5ToSETLlzyphZlHdfhIvvDHyStn1RyonjbD9f4Y22clKbCuo/s400/Delitti+-+Mummification4.jpg" width="400" /></a></div>
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<i>One of the many hilarious mummification effects</i>
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The film’s cheapness is also evidenced by its production values, or rather the lack thereof. The best example is a scene at Bob’s workplace, where instead of a wall there’s just a big curtain, and the name tag on his desk is nothing more than his name written by hand on a folded piece of paper.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGQVvUTAvVqmPSfLrRDDEDbUQeZ9nyE3QsxG5zuz1Tac9OekRgZ1XKQGPd8V6s1xDtPQHnSVZk7XaTnVM6fXRVl5qyaceNq0q0Sz-RrYagjFNEgEYEKnJ5vci2NNiDj2gO4Olqb7pnRo/s1600/Delitti+-+Production+Values.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGQVvUTAvVqmPSfLrRDDEDbUQeZ9nyE3QsxG5zuz1Tac9OekRgZ1XKQGPd8V6s1xDtPQHnSVZk7XaTnVM6fXRVl5qyaceNq0q0Sz-RrYagjFNEgEYEKnJ5vci2NNiDj2gO4Olqb7pnRo/s400/Delitti+-+Production+Values.jpg" width="400" /></a></div>
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<i>Cheapness aplenty</i>
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But <i>Delitti</i> is not merely a cheap-looking film – it’s also a distinctly ugly-looking one, with static and grotty camera work complemented by garish wallpaper and hideous 1980s fashions. The abrupt and erratic editing appears to have been done with a chainsaw – frequently cutting from one scene to the next, and then back again, without any rhyme or reason. A particularly jarring example is when the film cuts away from a steamy sex act to the middle of a chase scene, only for it to end shortly afterwards. In fact there is little build-up to most of the murders, and the chases are short and unconvincing. It’s clear that Lenzi has no clue whatsoever as to how to mount any tension and her attempts to add some suspense to the proceedings by slapping on recycled music from Lamberto Bava’s <i>A Blade in the Dark</i> (1983) are all in vain. The only memorable aspect to the stalkings and killings are their sheer tackiness. Slasher films are continuously accused of objectifying women and anyone thinking that a woman in the director’s chair will change that is in for a surprise as Lenzi piles on the sex and nudity just as heavily as her male counterparts. The undisputed highlight is an incredibly sleazy scene where a lingerie-clad Michela Miti is bound and gagged with her own stockings by the black-gloved killer, who then rips off her bra and caresses her naked breasts.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnxoIPCkUJ_TkyWHkn58VHgAuVpucT709oKKjAdZy27zpiKKznYcdZaL3x7qm655BTrNU0ASiI1I0zJCGxeB71dixNuGg3KxskCYuthHUl0F6oRysUbYLfk1TMO7O4MJ5rTCKuxWGvAA/s1600/Delitti+-+Strip+Nude1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnxoIPCkUJ_TkyWHkn58VHgAuVpucT709oKKjAdZy27zpiKKznYcdZaL3x7qm655BTrNU0ASiI1I0zJCGxeB71dixNuGg3KxskCYuthHUl0F6oRysUbYLfk1TMO7O4MJ5rTCKuxWGvAA/s400/Delitti+-+Strip+Nude1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7AanaCbvt2ozoeaIe6GNqwat14MqepbqyfelU_WMIFLLp6tEqPvfpgq5n3O97AKSnsX1aw07yE0VgIOdMFH2ugoGCjyB_9OV_xNPmPSc9ZaOthFFuAl0HI-5zJdD90-DFTR9pNxJ0ePE/s1600/Delitti+-+Strip+Nude2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7AanaCbvt2ozoeaIe6GNqwat14MqepbqyfelU_WMIFLLp6tEqPvfpgq5n3O97AKSnsX1aw07yE0VgIOdMFH2ugoGCjyB_9OV_xNPmPSc9ZaOthFFuAl0HI-5zJdD90-DFTR9pNxJ0ePE/s400/Delitti+-+Strip+Nude2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4-OYgQ6coRw-yz7oW2cxb8iDykXUH7O5M6wlyR8oRchqhWHnX9HMVvW-9yBcarh9iqIMmbEs_zJclz3dbHG9M4YvJHjeeVvLFrlwTfiGhr0nfcHTu386KtbhJa5ghwggYvDViWH-8Lwc/s1600/Delitti+-+Strip+Nude3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4-OYgQ6coRw-yz7oW2cxb8iDykXUH7O5M6wlyR8oRchqhWHnX9HMVvW-9yBcarh9iqIMmbEs_zJclz3dbHG9M4YvJHjeeVvLFrlwTfiGhr0nfcHTu386KtbhJa5ghwggYvDViWH-8Lwc/s400/Delitti+-+Strip+Nude3.jpg" width="400" /></a></div>
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<i>Strip nude for your killer!</i>
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<i>Delitti</i> is practically brimming with trashy moments like these, and they provide spectacular amounts of unintentional hilarity. Contributing further to the fun is the illogical and wildly unprictable writing, which results in a series of WTF-moments that truly beggar belief. The most notorious is a scene in which a woman is making a call to the police from a phone booth and gets terrified because a sinister-looking man with a hat, sunglasses and a scarf covering his face comes walking towards her. But all of a sudden the man stops in the middle of the street, takes his coat off and breaks out into an impromptu street dance before vanishing as suddenly as he appeared!!!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuIUdKBFBYx0dAO9vwmJ8Bt44Sg_7wuHOa7WFRCmSO-R3EM6PHdTRNcwyAZDqeB_Y2JB50jq_rwRl0EJ8RQpaz0cJRBbLuDlFcNjTkhnbCHmj4_XtjAgEWJdXPo-KiReXR2CX8TnwPb1A/s1600/Delitti+-+Street+Dance1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuIUdKBFBYx0dAO9vwmJ8Bt44Sg_7wuHOa7WFRCmSO-R3EM6PHdTRNcwyAZDqeB_Y2JB50jq_rwRl0EJ8RQpaz0cJRBbLuDlFcNjTkhnbCHmj4_XtjAgEWJdXPo-KiReXR2CX8TnwPb1A/s400/Delitti+-+Street+Dance1.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzuqeWngjVSp5QswOo9_qQnbXq4FJFpyrF938ujPyFLlUwr9PKSZtv81DDhOK38hYUJzZWWZT06tWDyFy2cAf1ebeoOB5TcoQ_7kjsonNUsAwUa4G3y5W9H2d9R0tZVgf8e1X4jdburj4/s1600/Delitti+-+Street+Dance2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzuqeWngjVSp5QswOo9_qQnbXq4FJFpyrF938ujPyFLlUwr9PKSZtv81DDhOK38hYUJzZWWZT06tWDyFy2cAf1ebeoOB5TcoQ_7kjsonNUsAwUa4G3y5W9H2d9R0tZVgf8e1X4jdburj4/s400/Delitti+-+Street+Dance2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVlV-6YTGKdS66DwuqaVtsxcy0uCpvCj_lt9hszR7LCV4XB_wxb6tho4VulmKj6ci_oQfSsf_-a45OHY7GDAFLT3ki8_Lpgnij-Zb2I6MLivjJRtWGttno2z1Elpqh0mIC0d_2tjun8tY/s1600/Delitti+-+Street+Dance3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVlV-6YTGKdS66DwuqaVtsxcy0uCpvCj_lt9hszR7LCV4XB_wxb6tho4VulmKj6ci_oQfSsf_-a45OHY7GDAFLT3ki8_Lpgnij-Zb2I6MLivjJRtWGttno2z1Elpqh0mIC0d_2tjun8tY/s400/Delitti+-+Street+Dance3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinnVxh1BTJDebc4-T8Yizkrg0_B_hxqPFEgyZAWraxG5SpR5whK0qx252fndBkkEl01PkPePgtthn6Zr6wlP4MTbeI1skragWYGU9Xbe2o8zFajovKLi-qNYL4nN3klSbK0If2eg8LRnA/s1600/Delitti+-+Street+Dance4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinnVxh1BTJDebc4-T8Yizkrg0_B_hxqPFEgyZAWraxG5SpR5whK0qx252fndBkkEl01PkPePgtthn6Zr6wlP4MTbeI1skragWYGU9Xbe2o8zFajovKLi-qNYL4nN3klSbK0If2eg8LRnA/s400/Delitti+-+Street+Dance4.jpg" width="400" /></a></div>
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<i>The killer? Nope, false alarm! Just a random dancing dude!</i>
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Then there’s the matter of the opening sequence when the police are examining the crime scene and we clearly see two dead bodies covered by white sheets on the floor. But throughout the film, the police consistently refer to the crime as <i>one</i> murder – that of Harry Francis. The other corpse (whoever it was) is never mentioned <i>at all</i>!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGsaP_t0MP3fgMtbeTh0kLk1J4ay3Ddc7tWjzDhEBmBmvR4Zg6fU-_SeMDID26W7_nGATr1AgydvLGgfemTmUSzmPOzMPkAbfV0P0SgrjSKlGcCFHe0LRJ2xU3h8E0NRRtHXCSpEyDSQs/s1600/Delitti+-+Two+Corpses.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGsaP_t0MP3fgMtbeTh0kLk1J4ay3Ddc7tWjzDhEBmBmvR4Zg6fU-_SeMDID26W7_nGATr1AgydvLGgfemTmUSzmPOzMPkAbfV0P0SgrjSKlGcCFHe0LRJ2xU3h8E0NRRtHXCSpEyDSQs/s400/Delitti+-+Two+Corpses.jpg" width="400" /></a></div>
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<i>There are clearly two corpses but apparently only one of them is of any interest to the police!</i>
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Another amazing moment comes when Inspector Sanders and his men take some time off from their murder investigation to beat up and arrest a couple of young men for no apparent reason. It’s an entirely irrelevant and randomly thrown in scene that has absolutely nothing to do with the rest of the plot!
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And let’s not forget the thoroughly silly striptease scenes performed by the voluptuous sex comedy mainstay Michela Miti (somewhat of a poor man’s Serena Grandi). She strips and struts her stuff like there’s no tomorrow, and she does it so frequently that it soon becomes laughable.
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<i>Silly or not, to many viewers these scenes will no doubt be the high point of the film</i>
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Other demented moments worthy of special mention include the crazy fight scene between Inspector Sanders and Jimmy the dwarf, and the scene were a woman attempts to calm the nerves of her worried friend by strangling and threatening her – only for them to hug and be chummy seconds later. Finally, there’s a sequence in which the masked killer chases after not one but two characters – only for the scene to cut away without revealing the outcome of the chase. Whether or not the two characters were killed or managed to escape is anyone’s guess because they’re never seen or mentioned again! Incredible! There’s simply no end to all the silliness.
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One thing that I rather liked about the film, though, was the presence of an old man nicknamed Chewing Gum, who pretends to be blind so he can more easily eavesdrop on other people’s conversations and blackmail them if he hears incriminating things. This character is no doubt a reference to Pastore’s earlier giallo, the far superior <i>The Crimes of the Black Cat</i>, in which the protagonist is a blind man who overhears a blackmail conversation which proves to be an important clue to the film’s mystery. It’s a nifty reference and a pretty amusing gag.
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<i>The fake blind guy</i>
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Another connection between the plots of <i>The Crimes of the Black Cat</i> and <i>Delitti</i> is that they both feature a completely far-fetched modus operandi for the killer. In the former, the killer poisons a black cat’s claws with deadly curare and then places it in a basket covered with a shawl doused with cat repellent. When the intended victim removes the shawl to look inside the basket, the cat jumps out and scratches the victim with its poisonous claws – resulting in a deadly heart attack! The murder method used in <i>Delitti</i> isn’t quite as imaginative, and the notion of a killer who carries an extremely poisonous snake on him while he chases and knocks down his victims is completely ridiculous (and the silliness is amplified by the fact that a tiny toy lizard is used for the snake) but Pastore and Lenzi nevertheless score some points for originality. They may have made a terrible film but it is never boring, and that is an admirable achievement!
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<i>The none too impressively sized snake takes a bite at one of its victims</i>
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Part of the reason why <i>Delitti</i> is never boring is its unpredictability. It is a film full of surprises, and that also applies to the casting – starting with the unexpected appearance of Linda Christian. Yes, <i>the</i> Linda Christian who was a popular Hollywood actress in the 1940s and 50s, and a favored object of the yellow press due to her marriages to Tyrone Power and Edmund Purdom. She was even the very first James Bond Girl, having appeared in a television adaptation of <i>Casino Royale</i> in 1954. Christian eventually settled in Italy, where she starred in a couple of films but retired from acting in the 1960s. In fact, <i>Delitti</i> was her first film in 18 years, and it’s a bizarre comeback role to say the least. She appears only at the start and end of the film as a narrator of sorts – speaking directly to the audience about how the events in the film could just as well happen to us, and cautioning us to choose our friends carefully and make sure none of them are snake lovers!!!
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<i>Linda Christian makes a bizarro comeback to the screen</i>
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But Linda Christian was not the only well-known actor Pastore and Lenzi were able to coax into appearing in this film. There are in fact numerous familiar faces that make surprise appearances – starting with Giorgio Ardisson, who plays Inspector Sanders’ superior. The athletic and handsome Ardisson had been very popular as a leading man in several Eurospy adventures in the 1960s but his career was in pretty bad shape by the 1980s, and he actually wound up being a regular in Pastore’s films.
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Another familiar face from the good old days is German actress Solvi Stubing. A prolific presence in Italian B-movies and fotoromanzi, Stubing was nevertheless best known as the sexy blonde girl in a long series of print and television commercials for Peroni beer, which you can read about <b><a href="http://euro-fever.blogspot.com/2008/06/euro-actresses-doing-alcohol.html">here</a></b>. By the time <i>Delitti</i> was made, Stubing had retired from acting and embarked on a new career as a film journalist – making this another case of a bizarre comeback.
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Appearing in the role of the first victim’s sister is Laura Troschel, who is not too well-known to non-Italians but in Italy she was a popular actress in comedies and television dramas, as well as being a singer. Troschel’s career was pretty solid around the time this was made, so her presence is definitely unexpected.
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Finally there’s Gianni Dei, who appears briefly as the first victim. Dei, too, is a prolific actor with credits going back to the 1960s but he appeared mainly in trash movies such as <i>Giallo a Venezia</i> (1979) and <i>Patrick Still Lives</i> (1980), so seeing him in this isn’t actually all that surprising.
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Overall, though, it is undeniably baffling to find so many old pros appearing in such a terrible film, which couldn’t have looked good even in script form. Most likely it has to do with the fact that prior to becoming a director, Pastore used to work as a journalist and press agent. He presumably made a lot of friends and connections in those days, and was probably able to hire them cheaply later on. Then again, I doubt anyone of the old veterans worked on the film for more than a day or two. They only appear in a few scenes each, and don’t get much to do. The only exception is Ardisson, who actually has a fair supporting role. He even gets involved in a bit of action, even if he does look rather old and tired.
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<i>Good old Giorgio Ardisson's still got it!</i>
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Also of interest is the casting of the younger actors, who are in large part made up of children of famous actors. Saverio Vallone, who stars as the journalist/mystery writer, is the son of the internationally famous Raf Vallone, and a familiar face to Euro cult fans due to his leading role in the gore classic <i>Antropophagus</i> (1980). There’s also Debora Ergas, daughter of the renowned Sandra Milo, in the role of the nervous and imperiled Susan. This was Ergas’ second and final film role, and that’s no wonder because she’s an absolutely terrible actress who can’t even act scared convincingly. More amusing is Lara Orfei, the daughter of peplum queen Moira Orfei, in her sole film appearance as Inspector Sanders’ teenage daughter who is obsessed with mystery novels. Thrown in for good measure is Austrian actress Sacha Maria Darwin, younger half-sister of the great Romy Schneider, as the inspector’s wife who complains that he’s never at home. Unfortunately, Darwin only appears in a single scene but was later featured more prominently in other trashy escapades such as Lucio Fulci’s <i>Touch of Death</i> and Mario Bianchi’s <i>The Murder Secret</i> (both 1988).
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<i>This rare photo printed in the "La Stampa" newspaper in January 1986 shows actors Saverio Vallone and Debora Ergas together with Sergio Pastore</i>
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<i>Moira Orfei’s daughter Lara in a small but amusing role as the inspector’s giallo-novel-loving daughter</i>
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<i>The spectacularly awful Debora Ergas does her best attempt at looking scared</i>
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Many of the female roles in the film are relatively brief – featuring several characters who basically just show up to get killed. The only really substantial female part is that of Julie Garrett, which Giovanna Lenzi made sure to award herself. In her mid 40s at the time, Lenzi is clearly much too old for the role and makes for what is probably the most awkward "final girl" of all time. But – like everything else that fails in this film – it only adds to the unintentional hilarity.
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<i>Lenzi as the final girl</i>
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I don’t think there is much else to be said about <i>Delitti</i>. It is simply a staggeringly incompetent train wreck of a film that gives a whole new meaning to the term bad. But while it fails miserably as serious entertainment, it is still an absolute riot due to its demented storytelling and all-around ineptness. <i>Delitti</i> is nothing less than a trash masterpiece of epic proportions and must not be missed by aficionados of crazy, demented schlock.
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© 2013 Johan Melle
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<b>The cast:</b>
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<i>Saverio Vallone as Bob Rawling</i>
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<i>Giovanna Lenzi as Julie Garrett</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDVw9MKDIklH2tkz4I6pWg3xNgT6eEJE1euqDzJPwab1sVnLfY69PZeV01pHNxDBhRzcmPyE8pmamQJj0jR0xLW6UnqgXb9TRwYpD9C9w8hVPBl1sAjmuuAY4R_V67u6Zw0GbS6tc87E/s1600/Delitti+-+Inspector+Sanders.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDVw9MKDIklH2tkz4I6pWg3xNgT6eEJE1euqDzJPwab1sVnLfY69PZeV01pHNxDBhRzcmPyE8pmamQJj0jR0xLW6UnqgXb9TRwYpD9C9w8hVPBl1sAjmuuAY4R_V67u6Zw0GbS6tc87E/s400/Delitti+-+Inspector+Sanders.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Tony Valente (???) as Inspector Sanders</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7nYXYLrBPvJyCX3QyVU3zuqZbmll1k2dC7nBITh_oaS_uyrW29IEhSjve1a8VU23ELq6tjKgPKBDe7qQu5BgBSG8d5cSaKs-dWmnvTdfmdE7T9lmY46ye8vI7yF2DhTknKxAcco2_cI/s1600/Delitti+-+Michela+Miti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM7nYXYLrBPvJyCX3QyVU3zuqZbmll1k2dC7nBITh_oaS_uyrW29IEhSjve1a8VU23ELq6tjKgPKBDe7qQu5BgBSG8d5cSaKs-dWmnvTdfmdE7T9lmY46ye8vI7yF2DhTknKxAcco2_cI/s400/Delitti+-+Michela+Miti.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Michela Miti as Betty</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh81LbJE7kwRPIWi8XdkrX_jJVvNqPujsJ77s9zVD_GSt0NPpJb_rSVFSDW6EkrxwXql_9F9cFx_szlA780fwuGK75KZDXUQF1_nZDmXJ78faxNI7xjRIjLqw5CvN4YGQ0Yq6Fnr4VwyTg/s1600/Delitti+-+Gianfranco+Gallo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh81LbJE7kwRPIWi8XdkrX_jJVvNqPujsJ77s9zVD_GSt0NPpJb_rSVFSDW6EkrxwXql_9F9cFx_szlA780fwuGK75KZDXUQF1_nZDmXJ78faxNI7xjRIjLqw5CvN4YGQ0Yq6Fnr4VwyTg/s400/Delitti+-+Gianfranco+Gallo.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Gianfranco Gallo as William Becker</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfYIRjMbyT7I19GxhN0U4R-hYuevgrnPl6H7r50AQ_QYMRQFYx07DTsP4mRjNjWJVHghXGGW1hsbzfb8HX2BnU7cJhjeC4P6T33jaLZk0tsJIy96RUGhtF-sLiWqRIxP0rlHzkVCGUAY/s1600/Delitti+-+Luigi+D%2527Ecclesia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfYIRjMbyT7I19GxhN0U4R-hYuevgrnPl6H7r50AQ_QYMRQFYx07DTsP4mRjNjWJVHghXGGW1hsbzfb8HX2BnU7cJhjeC4P6T33jaLZk0tsJIy96RUGhtF-sLiWqRIxP0rlHzkVCGUAY/s400/Delitti+-+Luigi+D%2527Ecclesia.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Luigi D'Ecclesia as Jimmy</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjikbfRn4CMq0ku4umK5cikm-66gYSHxBbZ8TFYHVYbbAP21pnB6HB9G2wli2X30Anc87iEV3aH5CsHI5nTfSY6RYlCzZjs5xg2Na_xODU5DjZWb8jbU4Dlct8btaaKk5JIImGcvdQU9i4/s1600/Delitti+-+Debora+Ergas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjikbfRn4CMq0ku4umK5cikm-66gYSHxBbZ8TFYHVYbbAP21pnB6HB9G2wli2X30Anc87iEV3aH5CsHI5nTfSY6RYlCzZjs5xg2Na_xODU5DjZWb8jbU4Dlct8btaaKk5JIImGcvdQU9i4/s400/Delitti+-+Debora+Ergas.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Debora Ergas as Susan</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_lXIx_ClSeeIhHaKnH_7RFlVtdg_M8CTDGwW-k44wrv0ekz9RNSD2vT8Hx-tFjEeUdYslSJFtG5dLbE0ixHxPdc6t8zOe8dk2LrEVeZ0gsIIIKcNohoLyGtBkh0D6kAaRyaq0MK_KWzs/s1600/Delitti+-+Alessandra+Izzo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_lXIx_ClSeeIhHaKnH_7RFlVtdg_M8CTDGwW-k44wrv0ekz9RNSD2vT8Hx-tFjEeUdYslSJFtG5dLbE0ixHxPdc6t8zOe8dk2LrEVeZ0gsIIIKcNohoLyGtBkh0D6kAaRyaq0MK_KWzs/s400/Delitti+-+Alessandra+Izzo.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Alessandra Izzo as Helen</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlS0P6VcbBXBxY1r43S3V4-jxk_RH2Lz8xlHrvwEOO7sriLRE5bOJc1Enm91dBdW5vlmUAmWC-P1gmvyevbK9qI8p_wVlWL5ofzUE_4O38WeRudo5C6shq4GhQOh5AwKHKJ1VULAbDHB0/s1600/Delitti+-+Giorgio+Ardisson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlS0P6VcbBXBxY1r43S3V4-jxk_RH2Lz8xlHrvwEOO7sriLRE5bOJc1Enm91dBdW5vlmUAmWC-P1gmvyevbK9qI8p_wVlWL5ofzUE_4O38WeRudo5C6shq4GhQOh5AwKHKJ1VULAbDHB0/s400/Delitti+-+Giorgio+Ardisson.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Giorgio Ardisson as The Chief of Police</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGu4qt-yEd5pvEwR7JsnA9T_MVP2Y2MBteXQzCLjs2yR2e3HAYrEfEJ6xu928DGy4zsXbqrHfXmT2iUSXHU5XfK3tNN15rYmDzKRaHkboVlNJizq7h19li8SDdqOtFIz9tnG1JGDSjNh4/s1600/Delitti+-+Rhett.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGu4qt-yEd5pvEwR7JsnA9T_MVP2Y2MBteXQzCLjs2yR2e3HAYrEfEJ6xu928DGy4zsXbqrHfXmT2iUSXHU5XfK3tNN15rYmDzKRaHkboVlNJizq7h19li8SDdqOtFIz9tnG1JGDSjNh4/s400/Delitti+-+Rhett.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>??? as Rhett</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEham5fhhIXvFnJJDKA1Nis_d-Dc1m5emgxW2hvmx1G3R4gBYsPvsFnefiFfUrzq_l5cyt2NG0RFbtxRxirvj4t_21hBOmcitgRFywQov7wDcOKFuYCtBs2bn6lnxhDk9xnxprme7HR3fYU/s1600/Delitti+-+Laura+Troschel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEham5fhhIXvFnJJDKA1Nis_d-Dc1m5emgxW2hvmx1G3R4gBYsPvsFnefiFfUrzq_l5cyt2NG0RFbtxRxirvj4t_21hBOmcitgRFywQov7wDcOKFuYCtBs2bn6lnxhDk9xnxprme7HR3fYU/s400/Delitti+-+Laura+Troschel.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Laura Troschel as Mirta Francis</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpDJvTzGIGqDy2349fOblMACXQ4UkAg9Jf-zDPAuh5Inj23X0dbDfTK33aVzDE77q46JCKoxPm_mw3yx77RrtQcUrT3KPPBOnkhDyqyfe6Zk26x-J0GyQMMz2TewKYT7VaovGZmKBy_o/s1600/Delitti+-+Remo+Capitani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpDJvTzGIGqDy2349fOblMACXQ4UkAg9Jf-zDPAuh5Inj23X0dbDfTK33aVzDE77q46JCKoxPm_mw3yx77RrtQcUrT3KPPBOnkhDyqyfe6Zk26x-J0GyQMMz2TewKYT7VaovGZmKBy_o/s400/Delitti+-+Remo+Capitani.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Remo Capitani as 'Chewing Gum'</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiN50BUK-xvd1MzlVVMBaqxlK71I1PmCeNs8qOiGMfc9luvE5t-mvrnHXX1gi5KDJqrYYRo7QZ-sh87D9iINc2OnEKYOzuEbV5XuPgHpvFFB8LF7Q7t4nGICAYPUVbFozWOvwThUgWCI/s1600/Delitti+-+Solvi+Stubing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiN50BUK-xvd1MzlVVMBaqxlK71I1PmCeNs8qOiGMfc9luvE5t-mvrnHXX1gi5KDJqrYYRo7QZ-sh87D9iINc2OnEKYOzuEbV5XuPgHpvFFB8LF7Q7t4nGICAYPUVbFozWOvwThUgWCI/s400/Delitti+-+Solvi+Stubing.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Solvi Stubing as Harriet Anderson</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uhysq5Zdrm5RAh9-GTvl4qJeXmZsr2mVrnx95tEEV0j8-m4snF3jM53MEd7hkudRCrbtIYsVnMC47kVLisuJUTLFCc_Kg39JtV2ubYob9UuTryTZFGuDfw3m3x_3bU48kRhWCVuyN_w/s1600/Delitti+-+Gianni+Dei.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uhysq5Zdrm5RAh9-GTvl4qJeXmZsr2mVrnx95tEEV0j8-m4snF3jM53MEd7hkudRCrbtIYsVnMC47kVLisuJUTLFCc_Kg39JtV2ubYob9UuTryTZFGuDfw3m3x_3bU48kRhWCVuyN_w/s400/Delitti+-+Gianni+Dei.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Gianni Dei as Harry Francis</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgrqnAU1PkrJ8JtZpiRdWZ-0DV3eJ1u0lEalAhwTvXdj49Ba3IcVBhvZPDwSy_VNcKEOiq0JEz1XqowwHgUjgJF79pXTJr7VZriEpBhPT7WHefkjeSYKnJv2VLp7v3C-m_zukmNLo0aNw/s1600/Delitti+-+Lara+Orfei.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgrqnAU1PkrJ8JtZpiRdWZ-0DV3eJ1u0lEalAhwTvXdj49Ba3IcVBhvZPDwSy_VNcKEOiq0JEz1XqowwHgUjgJF79pXTJr7VZriEpBhPT7WHefkjeSYKnJv2VLp7v3C-m_zukmNLo0aNw/s400/Delitti+-+Lara+Orfei.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Lara Orfei as Lara Sanders</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-spusgzpkJD-78a47P7U5bhz7a9SSXV8KJ2KpwQaXje7_zeycLqNIzLlQdHF179NiNa-LUp3aDfxyYWn5woAkZr1DT1kILKERYC-E639jQzDTnTkggxsU7ow8X6UzhpRBIKFiHFFQKRM/s1600/Delitti+-+Sacha+Darwin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-spusgzpkJD-78a47P7U5bhz7a9SSXV8KJ2KpwQaXje7_zeycLqNIzLlQdHF179NiNa-LUp3aDfxyYWn5woAkZr1DT1kILKERYC-E639jQzDTnTkggxsU7ow8X6UzhpRBIKFiHFFQKRM/s400/Delitti+-+Sacha+Darwin.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Sacha Maria Darwin as Inspector Sanders’ wife</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePbTVp6tpIa68I7z2TPXsi94nceBr2kBMJYuy4StYBhik-FmtRUm62YXfEE9Jo1T06VHNFr2Nqtnb7AMGaxrG5qKn5Rg_aaLO4_x3YBiu5OPf_SpsPF4IcsnmuGLObpCe4dBctekYMvo/s1600/Delitti+-+Herbert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePbTVp6tpIa68I7z2TPXsi94nceBr2kBMJYuy4StYBhik-FmtRUm62YXfEE9Jo1T06VHNFr2Nqtnb7AMGaxrG5qKn5Rg_aaLO4_x3YBiu5OPf_SpsPF4IcsnmuGLObpCe4dBctekYMvo/s400/Delitti+-+Herbert.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>??? as Herbert</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bgipn-ov7b3de4zyQ8X8tBuieXxKfTep_CAYhXT366dnbuB-keNbvtXAIK9zIzlcez90rbDUzVaHYqM7Z0jesLMtfXemhrXXARgV_dVf6y1Eq6Z7EEr4JP93k9sS-vtK3XdaIZi3Crw/s1600/Delitti+-+Emy+Valentino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bgipn-ov7b3de4zyQ8X8tBuieXxKfTep_CAYhXT366dnbuB-keNbvtXAIK9zIzlcez90rbDUzVaHYqM7Z0jesLMtfXemhrXXARgV_dVf6y1Eq6Z7EEr4JP93k9sS-vtK3XdaIZi3Crw/s400/Delitti+-+Emy+Valentino.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Emy Valentino as Jimmy’s girlfriend</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqGwD5mSWL4pRjh6bNI9l_njlWVJI13CzkOLLgOwb9-cGVsd5lXNjQ3EkGWftH7jT7YY54lep5L0gsLzLLXoZgNX9q8ZCIFdEC1AHJbxmfONM6urckfLt6RAw2jmTzgFhkM2nGi-r83w/s1600/Delitti+-+Alessandro+Croce.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqGwD5mSWL4pRjh6bNI9l_njlWVJI13CzkOLLgOwb9-cGVsd5lXNjQ3EkGWftH7jT7YY54lep5L0gsLzLLXoZgNX9q8ZCIFdEC1AHJbxmfONM6urckfLt6RAw2jmTzgFhkM2nGi-r83w/s400/Delitti+-+Alessandro+Croce.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>Alessandro Croce as The Medical Examiner</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO29PX2yASxcSoSF4spgAGRZixD7rdQamFRoc_Bq3VzddQgG5gl6d_hQ88wP8e5Hzbt4LLI4LntJFbQ0bAJ8V_dOrUIjI32cnhFNycxaLT7muQCjT2js5hFgj_GuuNbdGbJvkC3I-PSDc/s1600/Delitti+-+Inspector%2527s+Assistant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO29PX2yASxcSoSF4spgAGRZixD7rdQamFRoc_Bq3VzddQgG5gl6d_hQ88wP8e5Hzbt4LLI4LntJFbQ0bAJ8V_dOrUIjI32cnhFNycxaLT7muQCjT2js5hFgj_GuuNbdGbJvkC3I-PSDc/s400/Delitti+-+Inspector%2527s+Assistant.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>??? as Inspector Sanders’ Assistant</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2xuZI9hJ4W-8FBlm0sfjXQcaqe1YnzlRn155_3m8YB8nBL-mqVxjs_MoQIyEw7I0WE62BebTqMWPJj5fiWYx7DoOTxHVJafhMfxU8Ajd6umT9QKhlkUud9RURNc-SAmJwZ-qJIK8yGk/s1600/Delitti+-+Lara%2527s+Friend.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2xuZI9hJ4W-8FBlm0sfjXQcaqe1YnzlRn155_3m8YB8nBL-mqVxjs_MoQIyEw7I0WE62BebTqMWPJj5fiWYx7DoOTxHVJafhMfxU8Ajd6umT9QKhlkUud9RURNc-SAmJwZ-qJIK8yGk/s400/Delitti+-+Lara%2527s+Friend.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i>??? as Lara’s Friend</i>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qmpQiu1Vt7mAnKia-TUBwZU-AwcWlbslXXdJxpI9E2cpZQ0fuhPdwLIfJGi1-NQ_xMJ32xSNgAK9ey_R77rF-zLD6whPwi_7BatEmJ95dhE0kmS-UcLpIzI1G2kANxhyphenhyphena96-RWvLWVQ/s1600/Delitti+-+Giovanni+Nardoni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qmpQiu1Vt7mAnKia-TUBwZU-AwcWlbslXXdJxpI9E2cpZQ0fuhPdwLIfJGi1-NQ_xMJ32xSNgAK9ey_R77rF-zLD6whPwi_7BatEmJ95dhE0kmS-UcLpIzI1G2kANxhyphenhyphena96-RWvLWVQ/s400/Delitti+-+Giovanni+Nardoni.jpg" width="400" /></a></div>
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<i>Giovanni Nardoni as Bob’s Colleague</i>
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<i>Linda Christian as The Narrator</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-26164589793403377752013-01-28T12:10:00.000-08:002014-07-25T21:37:09.584-07:00The Prince of Terror/Il maestro del terrore<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1989
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Directed by Lamberto Bava
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Tomas Arana, David Brandon, Carole André, Ulisse Minervini, Joyce Pitti, Marina Viro, Pascal Druant, Virginia Bryant, Augusto Poderosi</b>
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Italian horror films from the late 1980s are generally not held in very high esteem – being frequently dismissed as the last, uninspired death throes of this once blossoming genre. And, indeed, some pretty lousy Italian horror films were churned out in this period but others again were surprisingly good. What is most surprising, however, is perhaps the sheer volume of Italian horror film being produced between 1987 and 1989. The Italian film industry was in increasingly bad shape at this point, and yet producers kept green lighting one flashy-looking, special effects laden horror flick after the other. Presumably, one of the reasons for this was the growing emergence of fanzines covering Italian horror movies. All of a sudden directors like Mario Bava, Dario Argento and Lucio Fulci were starting to be recognized for their style and talent. This rising interest in Italian horror also caught the attention of the filmmakers themselves, who soon decided to take advantage of their newfound appreciation. For example, Fulci lent his name to a series of cheap and gory horror films, which were released under the moniker “Lucio Fulci presents”.
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Unfortunately, this new Italian horror boom would prove to be short-lived but it did produce a number of interesting films. One of the more intriguing aspects to some of the horror films from this period is a new sense of playfulness and self-referentiality: in Andrea Bianchi’s <i>Massacre</i> (1989), the cast of a cheap horror movie are being murdered one by one; in Luigi Cozzi’s <i>The Black Cat</i> (1989), a famous horror movie director unleashes an evil witch when he attempts to make the third installment in Dario Argento’s then-unfinished trilogy of ‘The Three Mothers’; and in Lucio Fulci’s <i>A Cat in the Brain</i> (1990), Fulci stars as himself – a horror movie director being haunted by visions inspired by his own gory films.
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Made in the same self-referential spirit as those films is Lamberto Bava’s <i>The Prince of Terror</i>, one of the four TV horror movies helmed by Bava under the moniker <em>High Tension</em>, of which I have previously covered <strong><em><a href="http://euro-fever.blogspot.com/2010/10/school-of-fearil-gioko.html">School of Fear</a></em></strong> and <strong><em><a href="http://euro-fever.blogspot.com/2012/02/man-who-didnt-want-to-dieluomo-che-non.html">The Man Who Didn't Want to Die</a></em></strong>. The film begins on a foggy night. An attractive young woman (Marina Viro – dubbed by the ever-present Carolynn De Fonseca) is sleeping in an RV camped in the woods when she is suddenly awoken. She is worried because she can’t find her boyfriend so she steps out – wearing nothing but her nightie – to look for him. To her horror she finds him dead, and worse yet, the corpse turns into a bloated zombie creature right in front of her eyes. The zombie-boyfriend is quick on his feet, though, and starts chasing his terrified girlfriend through the woods!
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<i>Zombie mayhem!</i>
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But then suddenly we hear someone yell “Cut!” and it turns out that we have just witnessed the shooting of the latest film by Vincent Omen (Tomas Arana), a famed horror movie director who has been nicknamed the ‘Prince of Terror’ by the press.
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<i>The Prince of Terror at ease in the director’s chair</i>
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But Vincent is not at all happy with how the film is coming along. He finds the screenplay to be ridiculous and demands that it be re-written – much to the chagrin of his long-time script writer Paul Hillary (David Brandon), who refuses to make any changes. Vincent, however, will not budge, and gives the film’s producer (Pascal Druant) an ultimatum: either he finds a new screenwriter or Vincent will abandon the whole project. Under such circumstances, the producer has no choice but to oblige, and a bitter Paul finds himself out of a job.
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<i>Writer and director clash on the set</i>
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Off set, Vincent lives in a fancy villa adorned with creepy props from his films, but for the most part he leads a pretty quiet and normal life together with his beautiful wife Betty (Carole André) and their young teenage daughter Susan (Joyce Pitti), who always carries her pet dog Demon (!) around.
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<i>The Prince of Terror enjoys a tender moment with his charming wife</i>
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<i>Vincent’s daughter with her pet dog</i>
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All is not well, however, as Vincent is receiving some creepy anonymous phone calls, and soon disturbing things are happening such as the toilet overflowing with blood!
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<i>That bloody toilet!</i>
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But that’s just the beginning. Things take a turn for the worse when poor Susan goes to pick up her dog from the sofa but to her horror she pulls its skin off – leaving a flayed, gory carcass on the sofa.
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<i>Demon the Dog meets a grisly end in this cheesy yet delightfully vicious scene</i>
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The shocked family put the dead dog in the garbage can but soon afterwards someone throws it back through the window and then the power goes out. Vincent decides to search through the premises, but in the meantime the mysterious tormentor breaks into the house and takes both Betty and Susan captive. The culprit is revealed to be Eddie Felsen (Ulisse Minervini – dubbed by the great Ted Rusoff), a former actor who used to work for Vincent until his face was badly burned in a fire on a movie set. The now deranged Eddie blames Vincent for the accident and intends to make him and his family suffer. However, he has not been alone in setting up this brutal home invasion. No, the real mastermind behind the plot is Paul, the jilted screenwriter, who quickly reveals himself as a sadistic maniac who will stop at nothing to get his long-awaited revenge on Vincent.
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The terrified family try their best to fight their captors and escape from the villa but Paul is always one step ahead of them. He continues to torment them in various cruel ways, and in a clever twist, all of the sadistic tricks he pulls off are actually based on old, unused script ideas which were axed by Vincent. Paul is eager to prove to that his ideas are much more effective and terrifying than they were given credit for, and Vincent and his poor family are going to experience it first-hand...
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<i>The Omens experience a night of terror</i>
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<i>The Prince of Terror</i> was written by the well-known horror movie writer Dardano Sacchetti, who is fondly remembered for his long and fruitful collaboration with Lucio Fulci. Sacchetti wrote <i>Zombie</i> (1979), <i>City of the Living Dead</i> (1980), <i>The House by the Cemetery</i> (1981), <i>The Beyond</i> (1981), <i>The New York Ripper</i> (1982) and <i>Manhattan Baby</i> (1982) for Fulci but their working relationship eventually soured and ended rather bitterly. Clearly, Sacchetti’s difficult relationship with Fulci formed the inspiration for the film’s story, and it’s difficult to not view <i>The Prince of Terror</i> as a critique of how many directors unfairly take all the credit for a film’s success. With that said, the extreme behavior exhibited by the film’s vengeful screenwriter character suggests that Sacchetti’s criticism is not meant to be taken <i>too</i> seriously. In fact he manages to keep it fairly tongue in cheek, and throws in some amusingly witty dialogue exchanges where Paul and Vincent debate what constitutes a good horror movie. One of the highlights is their argument at the start of the film where Vincent accuses Paul’s script of ripping off Henri-Georges Clouzot’s <i>Les Diaboliques</i> (1955), to which an indignant Paul replies that “It’s a tribute! It’s not a rip-off!”
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But in spite of Sacchetti’s clever and self-referential script, <i>The Prince of Terror</i> is not without its share of problems, the worst of which is Vincent’s daughter Susan. Based on how she talks and behaves I suppose she is meant to be about 13 years old, but based on how she actually looks I’d say she’s in her late 20s at the very least. Obviously, this poses somewhat of a problem, and it’s impossible to take the character seriously. Her constant shrieking is extremely annoying and the only consolation is the fact that she <i>does</i> get subjected to a lot of hideous things throughout the film.
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<i>This chick will get on your nerves. Trust me!</i>
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Of course, it is the imaginatively sadistic and seemingly never-ending terrorization of the Omen family which is the real heart and soul of the film, and it is here that <i>The Prince of Terror</i> really shines. Unfortunately, it takes a little too long to get there. After the promising opening act, the film slows down its pace and treats us to a needlessly long scene where Vincent is being interviewed by a female reporter (played by American actress and Bava regular Virginia Bryant) at a golf course, and a tedious dinner party where the Omens have invited the producer and an airheaded and very annoying bimbo actress (the one we saw being menaced in the opening scene), who babbles on about how horror movies turn her on.
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Furthermore, the early stages of the terrorization – where we don’t know who is tormenting the Omen family – fall a bit flat. There are simply too many boring scenes where Vincent and Betty are arguing about what they are going to do, not to mention a needlessly long sequence in which Vincent searches through the house while Philip Boswell’s droning score plays on and on. The root of these problems lies in the fact that the film’s concept has been stretched a bit thin. It would probably have run much more smoothly and effectively as a one hour feature – something which is actually true of all of the four <em>High Tension</em> movies.
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But, fortunately, once the tormentors make themselves known the film starts to come alive and, boy, does it get lively in its second half! Dardano Sacchetti’s script just keeps bombarding us with crazy, unexpected twists and show-stopping gory mayhem courtesy of special effects genius Sergio Stivaletti. The skinned dog is a definite highlight but the film continues to smack us in the face with one jaw-dropping over-the-top-moment after another – throwing in chainsaws, bear traps, rape, a robot, people being walled up alive, and killer golf balls that knock out people’s eyeballs! It’s all capped off with a very bizarre ending, and while it will probably leave you scratching your head it’s a perfect conclusion to the preceding 90 minutes of frenzied home invasion terror and supernatural horror.
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<i>Plenty of over the top craziness</i>
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<i>A bit of Fulci-style eyeball violence</i>
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The biggest highlight by far, however, is the brilliant British actor David Brandon and his amazing, no-holds-barred performance as the deranged and vindictive screenwriter who never runs out of sadistic tricks to play on the Omens. Yes, he’s over the top but considering how the plot itself escalates into total craziness, Brandon’s delightful scenery-chewing is actually very much appropriate. He practically saves the film by breathing so much life and energy into the proceedings, and he is clearly having a great time. Thankfully, Brandon’s own voice is retained in the English version, and his performance is all the better for it, so do try to catch this in English if you can.
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<i>David Brandon in top form</i>
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The rest of the actors are inevitably overshadowed by Brandon but they put in some good work – especially Ulisse Minervini, who is hysterically sleazy and disgusting as Brandon’s partner in crime. By contrast, American actor Tomas Arana’s performance as the titular prince of terror comes across as rather subdued but it works fine that way. The beautiful Carole André has little to do as Arana’s wife except act terrified but she does so convincingly.
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While not in the same league as Bava’s best films, <i>The Prince of Terror</i> is nevertheless among his most successful TV movies, with a clever script and some terrific work by David Brandon. As long as you can stick it out through the rather rocky start you’ll be in for a wild and enjoyable ride.
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© 2013 Johan Melle
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<b>The cast:</b>
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<i>Tomas Arana as Vincent Omen</i>
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<i>David Brandon as Paul Hillary</i>
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<i>Carole André as Betty Omen</i>
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<i>Ulisse Minervini as Eddie Felsen</i>
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<i>Joyce Pitti as Susan Omen</i>
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<i>Marina Viro as Magda, the actress</i>
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<i>Pascal Druant as Philip Moses, the producer</i>
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<i>Virginia Bryant as The Reporter</i>
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<i>Augusto Poderosi as The Security Guard</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com2tag:blogger.com,1999:blog-3249679003059730182.post-24767999070260766472012-12-01T21:17:00.000-08:002020-04-20T05:42:48.553-07:00Skin 'em Alive/Scorticateli vivi<div class="separator" style="clear: both; text-align: center;">
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<b>Italy, 1978
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Directed by Mario Siciliano
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Cast:
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Bryan Rostron, Anthony Freeman [Mario Novelli], Charles Borromel, Thomas Kerr [Giuseppe Castellano], Karin Well, Pier Luigi Giorgio, Stefano Cedrati, Ettore Pecorari, Antonio Diana, Giulio Lucatelli, Jean Emile, Aurelia Saba</b>
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Mario Siciliano was a somewhat undistinguished yet interesting writer-director who through his own production company Metheus Film churned out a significant amount of action, western, erotica and horror movies before settling with pornography. I’ve previously reviewed his supernatural giallo <i>Evil Eye</i> (1974) and his fairly well-known porn movies <i>My Swedish Aunt</i> (1980) and <i>Orgasmo esotico</i> (1982) for this blog, and what strikes me about Siciliano’s films is that while they are rarely entirely successful, they nevertheless tend to be quite intriguing. This is also the case with his sleazy and cynical mercenary adventure <i>Skin 'em Alive</i>.
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The plot kicks off in an unspecified European city where we meet Rudy (Bryan Rostron – dubbed by the ubiquitous Ted Rusoff), a down on his luck guy who is in trouble because he owes money to a gang of mobsters. After getting beaten up and given a 24 hour deadline to cough up the money, Rudy does what he always does when he is in trouble: asks to borrow money from his sexy, long-suffering fling Evelyn (Karin Well – dubbed by Susan Spafford). She’s been let down by Rudy numerous times in the past, but is never able to turn him down when he comes knocking on her door.
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<i>The long-suffering fling with the heart of gold</i>
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After a bit of lovemaking, Evelyn reluctantly gives Rudy the money he needs, and he uses it to travel to Africa and meet up with his German half-brother Franz (Charles Borromel), who is the commander of a mercenary group fighting against rebel natives. Franz is a truly despicable character who speaks with a hilariously exaggerated German accent, and who gets his rocks off by raping the native women and torturing prisoners by melting their faces with a blowtorch!
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<i>Meet Franz, the psycho mercenary</i>
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Rudy knows that Franz is in possession of a lot of valuable diamonds and asks his half-brother to share some with him so he can go to America and start afresh. Unsurprisingly, the nasty Franz is not interested in helping out, and orders Rudy to get lost. “Your presence here turns my stomach, and I care about my health”, he sneers – before promptly going off on a mission. The mission, however, does not go well as Franz and his men are ambushed and taken prisoner.
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Back at the camp, the group’s second in command, Barney (Mario Novelli – dubbed by Robert Sommer), is very much satisfied with being promoted in Franz’s absence, and shows little interest in organizing any rescue operation. And while Barney and the other mercenaries spend much of their time getting hammered on J&B (what else?) and behaving like idiots, Rudy seizes the opportunity to seduce Franz’s woman – a local black girl – in hopes of getting her to reveal the whereabouts of Franz’s hidden stash of diamonds.
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<i>Rudy gets comfy with his brother’s woman</i>
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Unfortunately for Rudy, it turns out Franz keeps the diamonds on him – sewn into his belt – so Rudy starts pressing Barney about throwing together a rescue team. Barney isn’t too willing, but because the rest of the group is unimpressed with his leader skills, he reluctantly gives in. Thus, Rudy and Barney embark on a perilous rescue mission, joined by a group of fellow mercenaries who are all plagued by various problems: Fred (Pier Luigi Giorgio) has a craving for dangerous missions because he is impotent and feels he has no real reason for living; Stephan (Stefano Cedrati) is illiterate and suffers from an inferiority complex; Stafford loves poetry and is prone to sudden mental breakdowns; and the vile Arthur (Giuseppe Castellano – dubbed by the always awesome Robert Spafford) is simply an asshole whose only source of pleasure is to pick fights or cause trouble for others. The unstable group’s problems are further amplified by their constant sipping of J&B, and the rescue operation is bound to be quite bumpy – with plenty of sleazy thrills in store for the viewers.
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<i>When you have to trek through the vast African savanna on foot...</i>
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<i>...and encounter constant attacks and nasty jungle traps...</i>
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<i>...it’s nice to have some soothing J&B handy. Gotta love how the Italians always manage to fit in some J&B - no matter where a film is set</i>
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As you may have surmised from the plot summary, <i>Skin 'em Alive</i> is an ugly and nihilistic film – laced with violence, rape, racism and bleak cynicism. There isn’t really anyone to root for since pretty much all of the characters are either selfish or vile. Franz and his men are of course the worst, as they rape and murder without blinking an eye, and are clearly enjoying themselves in the process. At the other end of the spectrum are the many victimized blacks, but truth be told, it is hard to care much about any of them since they are never developed as characters even in the most rudimentary form. The film never invites us to care about any of these people, who are never portrayed as anything other than nameless victims whom the camera never lingers on for very long. The only possible exception is Franz’s unnamed woman – mockingly referred to as “Miss Droopy” – who at least shows traces of a personality and exhibits a bit of sassiness.
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<i>The sassy “Miss Droopy” is the only black character in the film to show some semblance of a personality. Unfortunately, I have no idea who the actress who plays her is, but her voice is dubbed by veteran Brit dubber Silvia Faver</i>
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Even our main character Rudy is not a particularly likable type, and he comes across as a selfish guy whose only concern is getting his hands on his brother’s diamonds. By his own admission he dislikes violence, and while he does not partake in any violent acts (not until the climax, anyway), he also does not protest or speak up against the violent behavior exhibited by the other characters. Instead he observes these acts without any visible concern or care. Now, it must be mentioned that Rudy’s seemingly unaffected behavior may at least partly be down to bad acting as he exhibits the same wooden expression throughout the duration of the film. Handsome, blonde Bryan Rostron had previously played small roles in <i>The Inglorious Bastards</i> (1977) and <i>Emanuelle and the White Slave Trade</i> (1978) but this was his first and only leading role, and he never appeared in any further films. He’s so stiff that I can only assume he was a last-minute replacement for a better and more experienced actor, but given the cynical tone of the film, his stone-faced expression more or less works for the character.
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<i>Rudy as he looks throughout most of the film</i>
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In any case, what mars <i>Skin 'em Alive</i> is not its cynical attitude or lack of sympathetic characters but rather Mario Siciliano’s direction, which is fairly lifeless. It’s a competently shot film, by all means, but Siciliano fails to ignite the action scenes with any real spark. The film’s most fundamental problem, however, is the fact that it falls short as an exploitation film. Yes, it’s trashy, exploitative, and full of sadism and violence, and yet it still manages to come across as rather tame and toothless. While there is plenty of sex and violence on display, these scenes are not very graphically portrayed – there’s hardly a drop of blood in sight, and the sex is very much downplayed. And in spite of the title, no one actually gets skinned alive at any point (the closest we ever get is some brief dialogue mentioning that Franz has previously skinned many of his enemies alive). Not that films needs to have gore in order to be entertaining, of course, but when a film caters to the sensibilities of an exploitation movie audience, which <i>Skin 'em Alive</i> so clearly does, and then fails to deliver the expected mayhem and bloodletting, it is bound to disappoint. As it is, one cannot help but wonder how this could have turned out had it been made by the likes of Umberto Lenzi, Ruggero Deodato or Joe D’Amato instead.
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<i>A typical example of a scene that plays out much less graphically than what you would expect from a trashy exploitation film</i>
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The film is not without its charms, however, and it scores some good points for Stelvio Cipriani’s excellent and funky disco theme. This catchy tune is admittedly far too upbeat for a gritty film such as this one but it undeniably livens up things. Gino Santini’s cinematography is not bad, either, and boasts some very nice-looking African scenery. Another high point is the cool supporting cast, who are able to breathe some much needed life into the film. Charles Borromel, best remembered for his part as the frenzied crew member in Alfonso Brescia’s dismal space opera <i>War of the Planets</i> (1977) and as the cop on the case in Joe D’Amato’s gory horror hit <i>Absurd</i> (1981), turns in a delightful scenery-chomping performance as the sadistic Franz. He is ably supported by stuntman/actor pro Mario Novelli, who acts his part as sleazy mercenary to the hilt, but the biggest scene stealer of all is without a doubt veteran bad guy actor Giuseppe Castellano, who is terrific as the repugnant Arthur. He shoots, fights, rapes, murders, and sips J&B like he’s never done anything else in his life. A great, great actor who has never really received all the recognition he deserves.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhigMMNelGJyTq4XHufAD51B8cBxZ2KX-RjwPxsF8VyvfEfUzUrfNd8sOzRavSOEhYkuv9oeyK0hl36xby9gcHNbUQqlP6uBUZxtYjRgCoe2LZtTBlbC22A2yWK-dlZetg3xtVOARlvJvg/s1600/Castellano1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhigMMNelGJyTq4XHufAD51B8cBxZ2KX-RjwPxsF8VyvfEfUzUrfNd8sOzRavSOEhYkuv9oeyK0hl36xby9gcHNbUQqlP6uBUZxtYjRgCoe2LZtTBlbC22A2yWK-dlZetg3xtVOARlvJvg/s400/Castellano1.jpg" height="245" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtbC2kX9WdIjhguQ2rNNvkt2QYU1VXEBg1YfSOxFbXBA2UtsgkbxC1WDjgoPOxH2iQ-QoyCkDakzr53NJuq0lPP6LajXDbIJVL-n6AHhiW9br-l-Qfs3xV5XM4s3SiTckwo7iWFy3lqg/s1600/Castellano2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtbC2kX9WdIjhguQ2rNNvkt2QYU1VXEBg1YfSOxFbXBA2UtsgkbxC1WDjgoPOxH2iQ-QoyCkDakzr53NJuq0lPP6LajXDbIJVL-n6AHhiW9br-l-Qfs3xV5XM4s3SiTckwo7iWFy3lqg/s400/Castellano2.jpg" height="243" width="400"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnUEpIK76UdSQoYk4Nprr0P-X_x13eE1UHTEhMPLUMFEYhlT20E7_uJSt-dO2Fd-Dq2Y1q9h7KJOddwihXNxTzRzZn8Fppmhp8tirEni0_n9649uBVwYB2_Aur-CGtB-lhreUNq1ng4Qo/s1600/Castellano3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnUEpIK76UdSQoYk4Nprr0P-X_x13eE1UHTEhMPLUMFEYhlT20E7_uJSt-dO2Fd-Dq2Y1q9h7KJOddwihXNxTzRzZn8Fppmhp8tirEni0_n9649uBVwYB2_Aur-CGtB-lhreUNq1ng4Qo/s400/Castellano3.jpg" height="240" width="400"></a></div>
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<i>Giuseppe Castellano steals the show</i>
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Cast in the role of Evelyn, Rudy’s long-suffering gal, is the very sexy Karin Well, a veteran actress of grade Z nonsense whose best known performance is probably as one of the protagonists of Andrea Bianchi’s infamous zombie romp <i>The Nights of Terror</i> (1981). Apparently, Karin was somewhat of a favorite to Siciliano, who had already used her in his wonderfully-titled crime film <i>The Satanic Mechanic</i> (1977), and who would subsequently cast her in his porn movies <i>Erotic Family</i> (1980) and <i>Dangerous Love</i> (1981), albeit in non-hard roles. Here, Karin’s role is fairly marginal – she basically shows up for some T&A and a few brief flashbacks scattered throughout the running time – but she’s very cute and easily the most sympathetic presence in the film.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBAr6uXGxTM9s6irzkNyl2CT7CLfC8AQy5cfD0lcl5YhKBQibQkOo6nmS-meb8hEHvLDUJvpPi-oAZnHvJM-Dp_H9dAbMEz-FN_7f06CHeYIhCinxFkm-HCtoC-Q5rvyU2OJL5HxzH6lw/s1600/T%2526A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBAr6uXGxTM9s6irzkNyl2CT7CLfC8AQy5cfD0lcl5YhKBQibQkOo6nmS-meb8hEHvLDUJvpPi-oAZnHvJM-Dp_H9dAbMEz-FN_7f06CHeYIhCinxFkm-HCtoC-Q5rvyU2OJL5HxzH6lw/s400/T%2526A.jpg" height="240" width="400"></a></div>
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<i>Karin Well provides the obligatory T&A</i>
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In sum, <i>Skin 'em Alive</i> is too tame to live up to its potential as big exploitation hit but it nevertheless has a memorably trashy and cynical atmosphere, enjoyable performances (especially by Borromel and Castellano) and a killer Stelvio Cipriani score, and that makes it good for a rainy day viewing at least.
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© 2012 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPTkjVr1edXQGQtI48_vMlc-cFq9W3bP1RA_O4MPC2c5hgVK_9wqTx6_MvvbCAz5HsjrOE6vAF8Il6GhmPJ9eqNkuFOTJ_Secl0mS1g4SAd7ovIahJBZbVpDS4Y027TgkW0DNTgirUQA/s1600/Bryan+Rostron.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGPTkjVr1edXQGQtI48_vMlc-cFq9W3bP1RA_O4MPC2c5hgVK_9wqTx6_MvvbCAz5HsjrOE6vAF8Il6GhmPJ9eqNkuFOTJ_Secl0mS1g4SAd7ovIahJBZbVpDS4Y027TgkW0DNTgirUQA/s400/Bryan+Rostron.jpg" height="240" width="400"></a></div>
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<i>Bryan Rostron as Rudy</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbYhafDJzapwZFqpT5SHFYZB0YUYjoOczQuhMPIA-1xi7LR9PoiJ4bCSNmpe2S4b3ixQdFXSKCHoo8EXTc2c94vYB7sTTvjhJnaNiq77tR2tBfAAEcbpy1KOlQyduk2vNWGkQUor-JcQ/s1600/Mario+Novelli.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbYhafDJzapwZFqpT5SHFYZB0YUYjoOczQuhMPIA-1xi7LR9PoiJ4bCSNmpe2S4b3ixQdFXSKCHoo8EXTc2c94vYB7sTTvjhJnaNiq77tR2tBfAAEcbpy1KOlQyduk2vNWGkQUor-JcQ/s400/Mario+Novelli.jpg" height="238" width="400"></a></div>
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<i>Mario Novelli as Barney</i>
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<i>Charles Borromel as Franz</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfY9KJYeZiCOxJA-C_uJNS9qFgmEB09g8hnqNMDPs4sgI6cLe_hHqCJahYWgXdljcuiM_tEO3L3ZnCgHfivMspMjZJCWnSXu1-87uG5Vop8AKLM94jq3XjGbyn8Qd_0ACZmLdQXu00bio/s1600/Giuseppe+Castellano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfY9KJYeZiCOxJA-C_uJNS9qFgmEB09g8hnqNMDPs4sgI6cLe_hHqCJahYWgXdljcuiM_tEO3L3ZnCgHfivMspMjZJCWnSXu1-87uG5Vop8AKLM94jq3XjGbyn8Qd_0ACZmLdQXu00bio/s400/Giuseppe+Castellano.jpg" height="244" width="400"></a></div>
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<i>Giuseppe Castellano as Arthur</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6OqX8oSZ_ubX9dvKgQTtzylK63YXPxQ0G_B4XdNNP-lYn_xttUu9xgRdNLUCAEQbVhOE3_J7Jrt7wwYnh-e1M088vioWND7R8LrJP3xT-bikBivt2z_ziZ1HGk5r-muxxaRL8jr8rG1A/s1600/Karin+Well.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6OqX8oSZ_ubX9dvKgQTtzylK63YXPxQ0G_B4XdNNP-lYn_xttUu9xgRdNLUCAEQbVhOE3_J7Jrt7wwYnh-e1M088vioWND7R8LrJP3xT-bikBivt2z_ziZ1HGk5r-muxxaRL8jr8rG1A/s400/Karin+Well.jpg" height="241" width="400"></a></div>
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<i>Karin Well as Evelyn</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR8_z0yjzk769MMEMTxVa2eBuTpSeAqIGQ8uBUODpjFFlyVd9PgZ5JpmygtBoAormJtsTAdb06lTX3c5Pu_9EyfVp74aMdDclYYC7yXmEaMbi7i2hAzpsH4ubKNZvcsONTjUz74GQ4A6k/s1600/Pier+Luigi+Giorgio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR8_z0yjzk769MMEMTxVa2eBuTpSeAqIGQ8uBUODpjFFlyVd9PgZ5JpmygtBoAormJtsTAdb06lTX3c5Pu_9EyfVp74aMdDclYYC7yXmEaMbi7i2hAzpsH4ubKNZvcsONTjUz74GQ4A6k/s400/Pier+Luigi+Giorgio.jpg" height="242" width="400"></a></div>
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<i>Pier Luigi Giorgio as Fred</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AlVkHQxOHNDU5t5q82oWHlfJ_pUJUdL55QhBHWZ27iUnVURDhsyhayWF4F8axGXrHFIaAOgJwExbQDXCQgPMX-rbdDxUGS9JPMFEJbDRQfAQX7jZM3KovYR-Xai4XYa7DEP_BQdKUfw/s1600/Stafford.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AlVkHQxOHNDU5t5q82oWHlfJ_pUJUdL55QhBHWZ27iUnVURDhsyhayWF4F8axGXrHFIaAOgJwExbQDXCQgPMX-rbdDxUGS9JPMFEJbDRQfAQX7jZM3KovYR-Xai4XYa7DEP_BQdKUfw/s400/Stafford.jpg" height="240" width="400"></a></div>
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<i>??? as Stafford</i>
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<i>Stefano Cedrati as Stephan</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitwBZLRb_EdiYiA14O1UjAqgw31T3sruLWXxy3VJ8qPN3zEQXvGmoB-4lcRfCLoYlClM32mAzKaQlY-UBwIFZbtOjhBTDAn386YzMiBP8zFLv1hIoXllhFOB3FfNHsyyz6eQf06Skytjk/s1600/Peter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitwBZLRb_EdiYiA14O1UjAqgw31T3sruLWXxy3VJ8qPN3zEQXvGmoB-4lcRfCLoYlClM32mAzKaQlY-UBwIFZbtOjhBTDAn386YzMiBP8zFLv1hIoXllhFOB3FfNHsyyz6eQf06Skytjk/s400/Peter.jpg" height="240" width="400"></a></div>
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<i>??? as Peter</i>
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<i>??? as Franz's woman</i>
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<i>Aurelia Saba (???) as Local girl</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com0tag:blogger.com,1999:blog-3249679003059730182.post-45833803411206379882012-10-29T14:22:00.001-07:002015-01-10T13:28:34.828-08:00Etoile<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCeloa_2w4ghLOJHUpkYzESoBUmMQXpxu06D7QT_ZFE7B1FMV4GkuzkiXCDIHlYuRzUpufyBWlCnGDf_xwrlwxhc3hPBNKG1UF7IJoOyBFSGr6mkbGluF50V8Q28UHx8iQNEUWULU3dZY/s1600/Etoile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCeloa_2w4ghLOJHUpkYzESoBUmMQXpxu06D7QT_ZFE7B1FMV4GkuzkiXCDIHlYuRzUpufyBWlCnGDf_xwrlwxhc3hPBNKG1UF7IJoOyBFSGr6mkbGluF50V8Q28UHx8iQNEUWULU3dZY/s400/Etoile.jpg" height="230" width="400" /></a></div>
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<b>Italy, 1989
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Directed by Peter Del Monte
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Cast:
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Jennifer Connelly, Gary McCleery, Laurent Terzieff, Charles Durning, Donald Hodson, Olimpia Carlisi</b>
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To many Jennifer Connelly fans, Dario Argento’s bizarre Italian horror film <i>Phenomena</i> (1984) is probably the strangest item on the esteemed actress’ resume. It is not the most obscure one, however. That honor goes to another Italian film, the strange <i>Etoile</i>.
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Connelly plays Claire Hamilton, a young and beautiful ballerina who travels to Budapest in order to try out for a renowned ballet school. At her hotel, Claire by chance encounters a fellow American named Jason Forrest (Gary McCleery) when he picks up a ballet shoe she has dropped. The geeky Jason is in Budapest to assist his eccentric, clock-collecting uncle Joshua (Charles Durning) but he is so enchanted by Claire’s beauty that he quickly forgets about everything else. Claire finds Jason charming and it doesn’t take long for romantic feelings to develop between the two.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFYkJgAVjBeq9OQ8JTyUwHBQRTHJtnHZY_pQZOUR7hjhd8DX2yTA844kh1U_YaS-sR1G0K7so5k0gtvI1HEoEDq7L3wJgdFfsFfnjd3QbojlBdVFV6lCbhpbEQFwAQc_z9iWGMWFwODR8/s1600/Shoe2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFYkJgAVjBeq9OQ8JTyUwHBQRTHJtnHZY_pQZOUR7hjhd8DX2yTA844kh1U_YaS-sR1G0K7so5k0gtvI1HEoEDq7L3wJgdFfsFfnjd3QbojlBdVFV6lCbhpbEQFwAQc_z9iWGMWFwODR8/s400/Shoe2.jpg" height="231" width="400" /></a></div>
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<i>A ballet shoe brings Claire and Jason together in true fairytale fashion</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuYqiIzctOnnDE0rwwGjCcxegwLXvGB9Up7A_bVupAAwJEsKJSJ7sJOIPDxETm1r8As7ZMyQFfEHIWINxSZlvYZGXFs944V46_AwTpO8nc6-rFDLe0NxxEV_XbLHlnCI-EPCpk0sbwtg/s1600/Uncle+Joshua.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuYqiIzctOnnDE0rwwGjCcxegwLXvGB9Up7A_bVupAAwJEsKJSJ7sJOIPDxETm1r8As7ZMyQFfEHIWINxSZlvYZGXFs944V46_AwTpO8nc6-rFDLe0NxxEV_XbLHlnCI-EPCpk0sbwtg/s400/Uncle+Joshua.jpg" height="231" width="400" /></a></div>
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<i>Charles Durning is onboard to provide comic relief as the clock-collecting Uncle Joshua</i>
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Unfortunately, Claire’s ballet audition doesn’t go too well. While waiting in line, she listens to one of the rejected ballerinas tearfully relating how badly she was treated, and when Claire’s name is called, she freezes. Unable to face the audition room, she flees in panic but loses her way and ends up on the stage in an empty, old theater. Instinctively, Claire starts to dance on the stage – not knowing that the ballet school’s director, Marius Balakin (Laurent Terzieff), is observing her from the darkened audience row. Marius can’t believe what is happening before his eyes. “Natalie”, he blurts out in amazement and drops his cane to the floor. Frightened, Claire balks from the stage and escapes to the sunny streets outside.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZllUzqDo4voVSkpppQSM7nEP8Q-GxjaIQ-JWa8Jc_L1gnBd8fLnFqe9mNuuJYLR_hcgqt7C1p98z0ZNyd3OyYWpWVsSLd9M4RQwvhDQxSsexBsjl7X5XQtmnYJidY8Krzc2sgpjyGYpw/s1600/On+Stage3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZllUzqDo4voVSkpppQSM7nEP8Q-GxjaIQ-JWa8Jc_L1gnBd8fLnFqe9mNuuJYLR_hcgqt7C1p98z0ZNyd3OyYWpWVsSLd9M4RQwvhDQxSsexBsjl7X5XQtmnYJidY8Krzc2sgpjyGYpw/s400/On+Stage3.jpg" height="232" width="400" /></a></div>
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<i>The ballet director appears to recognize Claire</i>
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Shortly afterwards, strange things start happening. In her hotel room, Claire finds a bouquet of black roses, with a note reading, “Welcome back, Natalie”. Upset by everything that has happened, Claire decides to go back to America but while she is at the airport waiting for her flight, a certain Natalie Horvath is called to the information desk. Overcome by inexplicable impulses, Claire heads to the information desk, where she is picked up by a chauffeur (Donald Hodson). He takes her to the estate of Marius Balakin, where she is assured that everything is “exactly the same as it was then”. Claire is overcome by memories of someone else’s past – quickly losing the sense of her own identity as she starts to take on that of the mysterious Natalie.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7K17rPDR5_D1Vg3iZt2-dw6Q3KbaeXMQLXfS7oOC9pN_NhfjV7Hnir4NzZ9qlMAJOzE2KTv8DN9lYJ-nciJwcgE_VPb5AzDutXyE_xioH2MCxqsaBehkjYJeapcZFf_-gwX1Nfk_LDU/s1600/Natalie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7K17rPDR5_D1Vg3iZt2-dw6Q3KbaeXMQLXfS7oOC9pN_NhfjV7Hnir4NzZ9qlMAJOzE2KTv8DN9lYJ-nciJwcgE_VPb5AzDutXyE_xioH2MCxqsaBehkjYJeapcZFf_-gwX1Nfk_LDU/s400/Natalie.jpg" height="231" width="400" /></a></div>
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<i>Claire begins to assume the personality of the mysterious Natalie</i>
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Poor Jason is distraught and worried when Claire doesn’t recognize him and insists her name is Natalie. It turns out there are dark forces at work, and once Jason learns the truth about the people behind the ballet school and who Natalie Horvath really was, he must fight a desperate battle to save his beloved Claire…
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The theme of a young woman going to study at a creepy ballet school abroad recalls Dario Argento’s horror classic <i>Suspiria</i> (1977) but other than this plot point, <i>Etoile</i> couldn’t possibly be more different from Argento’s film. In spite of clear horror film elements such as the eerie musical score, the presence of dark, evil forces and the plot point of Claire inexplicably assuming the identity of a woman from the past, <i>Etoile</i> never truly feels like a horror film. But it doesn’t feel like a real drama either. It’s as if the film doesn’t quite know what it wants to be, and it feels both vague and unfocused – not to mention overlong at 100 minutes.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_G5GjWsdC8zEHOpvIA2wP4aHj3r303GJivH3K1KQ9FOc1PYlcQJy2N6cvbxCFqP7MfMeIpyPHjBVF_gC7MOc92SPwH7GXkgkyreioS1XREswj47AlN_kyNmrt4dWurrUCENEf6lngE1Y/s1600/Horror.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_G5GjWsdC8zEHOpvIA2wP4aHj3r303GJivH3K1KQ9FOc1PYlcQJy2N6cvbxCFqP7MfMeIpyPHjBVF_gC7MOc92SPwH7GXkgkyreioS1XREswj47AlN_kyNmrt4dWurrUCENEf6lngE1Y/s400/Horror.jpg" height="231" width="400" /></a></div>
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<i>Only occasionally does the film feel like a horror movie</i>
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However, the film’s chief flaw is the romance between Claire and Jason, which isn’t credible for one single second. This is mainly due to Gary McCleery, who has neither the looks nor the charisma to be a believable love interest for the gorgeous Jennifer Connelly. Though clearly meant to be sympathetic and geekily charming, the Jason character instead comes across as awkward and slightly creepy right from the introduction scene where Claire drops her ballet shoe – Cinderella style – and Jason picks it up. He returns the shoe to Claire and starts bombarding her with questions: “Are you an American too?”, “Are you a dancer?”, “Are you here to dance?” etc. Claire is clearly in a hurry and wants to leave but he just keeps the questions coming while staring at her in a rather creepy way. And so it continues – with Jason’s infatuation for Claire seeming more like an unhealthy obsession. Played far too intense by McCleery, Jason comes across like classic stalker material, and it defies all possible logic that Claire should end up falling for someone like him. It is very unfortunate that the romance between Jason and Claire fails at both convincing and engaging the viewer because the film relies heavily on their relationship as the main narrative driving force – with Jason’s battle to rescue his beloved taking up much of the running time.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC1SLu5vEzG5Kr5eVCya43LWZLTEhT3z7JilhtToulpm0jAfgMLaYiA2L2lO5Nf5gpIJW4nuTAesKiTgqeD7x2AZGGRQ9-x5xQvKNfKeTEW3odEsiKFkLJTyyv0OAAodbvoXFB3dMTaoE/s1600/Stalker2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC1SLu5vEzG5Kr5eVCya43LWZLTEhT3z7JilhtToulpm0jAfgMLaYiA2L2lO5Nf5gpIJW4nuTAesKiTgqeD7x2AZGGRQ9-x5xQvKNfKeTEW3odEsiKFkLJTyyv0OAAodbvoXFB3dMTaoE/s400/Stalker2.jpg" height="232" width="400" /></a></div>
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<i>Jason looks and behaves seriously creepy throughout the film</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-_mXaJiM2ZjL8XO-kte3ut7QY5aPmyTm7nY8OOYqLcoZ9Kn1x9ByD2iwTKq_LSUz09by4ZNBQi7cYeWzu0OO8CEE7m2gNWVMDqtaECpFpUnZpCYL2OmHYxNiuwo4MyGQafnn0Ccc6hY/s1600/Romance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-_mXaJiM2ZjL8XO-kte3ut7QY5aPmyTm7nY8OOYqLcoZ9Kn1x9ByD2iwTKq_LSUz09by4ZNBQi7cYeWzu0OO8CEE7m2gNWVMDqtaECpFpUnZpCYL2OmHYxNiuwo4MyGQafnn0Ccc6hY/s400/Romance.jpg" height="232" width="400" /></a></div>
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<i>One of the all-time least credible cinematic romances</i>
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It is unfortunate that <i>Etoile</i> fails to come together because it does have a few things going for it. Firstly, Jennifer Connelly delivers a very solid performance – coming across as charmingly sweet and angelic in the role of Claire, and later making the switch to darkly seductive as Claire is overtaken by the spirit Natalie.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFd1d3_v5mrvAoTZocEWv4ubW4dj5sDWrJM42XWqtXXl21Tato0rUsTiDKt6wHzac9c54fwReBwruOugkHG-fHb3ZzRFHNPHLHvFEOtTfrkbirVyjMtX3a8jAOzzFt0poDsCnj6QAAFZA/s1600/Angelic+Connelly.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFd1d3_v5mrvAoTZocEWv4ubW4dj5sDWrJM42XWqtXXl21Tato0rUsTiDKt6wHzac9c54fwReBwruOugkHG-fHb3ZzRFHNPHLHvFEOtTfrkbirVyjMtX3a8jAOzzFt0poDsCnj6QAAFZA/s400/Angelic+Connelly.jpg" height="231" width="400" /></a></div>
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<i>Jennifer Connelly as the sweet and innocent Claire...</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkaZ0VnBS-AJSUo2WOExhf3Ud5Y5hi4DHBs9hszUASjQOB1jCr1wsjiIKoMrql-xQHbb1KMTlcNzBkTrp3DwpAEoAPlUI8y7IUkWKvx4IA1Jcjy_Jjo3qOiVAeOGg2l9qTdZabSYs08Uc/s1600/Dark+Connelly1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkaZ0VnBS-AJSUo2WOExhf3Ud5Y5hi4DHBs9hszUASjQOB1jCr1wsjiIKoMrql-xQHbb1KMTlcNzBkTrp3DwpAEoAPlUI8y7IUkWKvx4IA1Jcjy_Jjo3qOiVAeOGg2l9qTdZabSYs08Uc/s400/Dark+Connelly1.jpg" height="231" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-UC2ev4Ay8moBeoSWSKDKoaMCKkQ4sBwJ6ajP_WoZQmgH4GOLk3MXb6A-TI2abuErdweCoDOVlljnm4_FcGSgYqoFPRlQskl1rYt6hnxAkaDDe-PfFS4XUohSNdRbsnBUZyljRQwtKg0/s1600/Dark+Connelly2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-UC2ev4Ay8moBeoSWSKDKoaMCKkQ4sBwJ6ajP_WoZQmgH4GOLk3MXb6A-TI2abuErdweCoDOVlljnm4_FcGSgYqoFPRlQskl1rYt6hnxAkaDDe-PfFS4XUohSNdRbsnBUZyljRQwtKg0/s400/Dark+Connelly2.jpg" height="232" width="400" /></a></div>
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<i>...and as the dark, seductive Natalie</i>
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The film also benefits from a quietly effective orchestral score, as well as stunning picturesque locations and lush art direction. It’s definitely a stylish and atmospheric work but in spite of its appealing visuals <i>Etoile</i> is little more than a good-looking package with nothing inside. It is an empty film that is sorely lacking in both substance and drive.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJGyp2E4NhuM5Xy-19ijoENBz7JiCU2kD1WIXhVgEnF0HdGDy5jXOoaGoB9AG_QB508GhbVlH1t3zjh-aFk6xUSj1lvT8049q94adpY4Zwnzvs_icdzCUoEtuQ1MIwIMGXXNOzwomim8/s1600/Etoile2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJGyp2E4NhuM5Xy-19ijoENBz7JiCU2kD1WIXhVgEnF0HdGDy5jXOoaGoB9AG_QB508GhbVlH1t3zjh-aFk6xUSj1lvT8049q94adpY4Zwnzvs_icdzCUoEtuQ1MIwIMGXXNOzwomim8/s400/Etoile2.jpg" height="232" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnB-mR-6cvUCF6IkTfq5HIeWNuoh_HdfSrDEZyoNApPWTzN6h8DLsOPsqDqe1Y_rC5eetlyvkE2Xa3xo7RWGJKTRLBBSwnbzxItEGX1wXnfR9fTTw9B_BuS7x1J9ShbvgdfgtGY4vLyA/s1600/Etoile3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnB-mR-6cvUCF6IkTfq5HIeWNuoh_HdfSrDEZyoNApPWTzN6h8DLsOPsqDqe1Y_rC5eetlyvkE2Xa3xo7RWGJKTRLBBSwnbzxItEGX1wXnfR9fTTw9B_BuS7x1J9ShbvgdfgtGY4vLyA/s400/Etoile3.jpg" height="231" width="400" /></a></div>
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<i>The film undeniably looks gorgeous</i>
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The cast is quite small and the focus is so firmly on Connelly and McCleery’s characters that none of the supporting actors are given much chance to shine. Nevertheless, French actor Laurent Terzieff manages to be effectively sinister as the mysterious ballet school director. The presence of Hollywood character actor Charles Durning as Jason’s eccentric uncle is quite a surprise but, unfortunately, Durning’s acting is way over the top and he is sorely in lack of a director who is able to rein him in. His out of the blue meltdown in a phone booth is nothing short of embarrassing but that doesn’t prevent it from being the most enjoyable moment in the film.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhu-pufnojh-TW0RqeKOQFhoZy6RxJ6p-uZjE367pfNr2Mh7ZOQ9kxkPzhm3CGqHZvHOm9jGZus9m4faweJrIZSjQNsJIspyjHHLSYxv0iec72RUAyBw7hsbL3Uas3O4334EyESo2Wyjs/s1600/Durning+Meltdown1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhu-pufnojh-TW0RqeKOQFhoZy6RxJ6p-uZjE367pfNr2Mh7ZOQ9kxkPzhm3CGqHZvHOm9jGZus9m4faweJrIZSjQNsJIspyjHHLSYxv0iec72RUAyBw7hsbL3Uas3O4334EyESo2Wyjs/s400/Durning+Meltdown1.jpg" height="232" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiixjJV1AMuMzej7UacVT9hYgXofaCMXIByrC6m9Czs7iK1HwcHQuYrL35xikqz1a1z7euPKL-rv8QwRhuQ1sWlb3IBUrtarVoU78paCHiDqgLOgPLMz4QN_NO55_xjeXFwsKSvH4aSAFE/s1600/Durning+Meltdown2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiixjJV1AMuMzej7UacVT9hYgXofaCMXIByrC6m9Czs7iK1HwcHQuYrL35xikqz1a1z7euPKL-rv8QwRhuQ1sWlb3IBUrtarVoU78paCHiDqgLOgPLMz4QN_NO55_xjeXFwsKSvH4aSAFE/s400/Durning+Meltdown2.jpg" height="230" width="400" /></a></div>
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<i>Charles Durning’s phone booth meltdown is one of those moments that you just have to see to believe</i>
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While undeniably stylish-looking, this dark fairytale is frustratingly vague and uninspired. It feels empty and the story fails to really engage but what well and truly kills the film is the unbelievably annoying Jason character – a problem which is greatly amplified by Gary McCleery’s terrible performance in the role. That said, <i>Etoile</i> is definitely the most obscure film on Jennifer Connelly’s resume and she does deliver a solid performance, so for dedicated Connelly fans it might be worth tracking down. Everyone else can skip it, though.
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© 2012 Johan Melle
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<b>The cast:</b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy715zpSY7D0AgyLQb9J8og1XjYWT_igcIn4Oz3XN5BxGkbNzdYdDpbQ-oMPUGEAceM0_9WUlBZbOJHBzchT-IRqyr4ICgNgVY2fK3An5x3SmianFnoE6O9P1PF2yTrhAiIr3dmpiIxWo/s1600/Jennifer+Connelly.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy715zpSY7D0AgyLQb9J8og1XjYWT_igcIn4Oz3XN5BxGkbNzdYdDpbQ-oMPUGEAceM0_9WUlBZbOJHBzchT-IRqyr4ICgNgVY2fK3An5x3SmianFnoE6O9P1PF2yTrhAiIr3dmpiIxWo/s400/Jennifer+Connelly.jpg" height="231" width="400" /></a></div>
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<i>Jennifer Connelly as Claire Hamilton</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPRoMfzFJifANhQ9HI8MtIZesj0sKfj8TT9EF9VZULAjqEqW4q0r3LVbM-ht_tMFuzKfpqIpPgbDWo3ajJpnrCr2Qzph1DtcSP-fXiRbrUpc7jtXotlMYt3SUFQ5HmhLvI7DXopB2m_HA/s1600/Gary+McCleery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPRoMfzFJifANhQ9HI8MtIZesj0sKfj8TT9EF9VZULAjqEqW4q0r3LVbM-ht_tMFuzKfpqIpPgbDWo3ajJpnrCr2Qzph1DtcSP-fXiRbrUpc7jtXotlMYt3SUFQ5HmhLvI7DXopB2m_HA/s400/Gary+McCleery.jpg" height="231" width="400" /></a></div>
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<i>Gary McCleery as Jason Forrest</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkNL1DkFKCwCmcK4MHBJZEVuEvtnowlWVSJ6kQC3PAVMJZCtBFGuITgBrFjMo-K_B8izU7I3l4pMrfo0uN7YrR8YHdv9J8J_ajUDTIwpoCp8TZL0vkAg6jcIicQctVwaD8bzOYgKa42no/s1600/Laurent+Terzieff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkNL1DkFKCwCmcK4MHBJZEVuEvtnowlWVSJ6kQC3PAVMJZCtBFGuITgBrFjMo-K_B8izU7I3l4pMrfo0uN7YrR8YHdv9J8J_ajUDTIwpoCp8TZL0vkAg6jcIicQctVwaD8bzOYgKa42no/s400/Laurent+Terzieff.jpg" height="232" width="400" /></a></div>
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<i>Laurent Terzieff as Marius Balakin</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zpU4pIce-eviCiQh-Ke-xeNJOGV7jqnn4ptSPlDhZCKzgDd1ZONtKZaFn_BQLutO4dTlMxhs0B2ENVZZlc7Utu65CAytACjP5-bXHy5igjqOe9TrQ0Mp0Bk0PcYMIZT3Uwj1L4P2orw/s1600/Charles+Durning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zpU4pIce-eviCiQh-Ke-xeNJOGV7jqnn4ptSPlDhZCKzgDd1ZONtKZaFn_BQLutO4dTlMxhs0B2ENVZZlc7Utu65CAytACjP5-bXHy5igjqOe9TrQ0Mp0Bk0PcYMIZT3Uwj1L4P2orw/s400/Charles+Durning.jpg" height="230" width="400" /></a></div>
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<i>Charles Durning as Uncle Joshua</i>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRl1fjqYWRd4r7Rnx0KdIeGd0olbtEZIcg-dYAivM205Ob6SNT2OEM2bEaMn9apACxdME_n20Uyu-B0-FmIpCDcPGARY035fPE7fxXlV5ltbUeWsDAANVr05vGvjPtOuQ6kIrIc4znmmw/s1600/Donald+Hodson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRl1fjqYWRd4r7Rnx0KdIeGd0olbtEZIcg-dYAivM205Ob6SNT2OEM2bEaMn9apACxdME_n20Uyu-B0-FmIpCDcPGARY035fPE7fxXlV5ltbUeWsDAANVr05vGvjPtOuQ6kIrIc4znmmw/s400/Donald+Hodson.jpg" height="231" width="400" /></a></div>
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<i>Donald Hodson as Balakin’s chauffeur</i>
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<i>Olimpia Carlisi as Ballet madam</i>
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<br />Johan Mellehttp://www.blogger.com/profile/07168671421253629870noreply@blogger.com4