Italian Horror Holiday thread!

[megladon8]

I've taken a week off leading up to the Easter long weekend, so Jen and I are going to see a bunch of Italian horrors / giallos that we have not yet seen.

We've seen most all of the staples - the "big" titles from Argento, Bava, Fulci, Soavi, etc. So we've got a combination of some lesser-known titles, as well as some hidden gems by well-known directors coming up this week.

These are all first-time viewings for us.

Here is a list of the films we have lined up. They're simply listed in alphabetical order here - we have no planned order to watch them in:

Anthropophagus: The Grim Reaper (1980 / Joe D'Amato)
Black Belly of the Tarantula (1971 / Paolo Cavara)
A Blade in the Dark (1983 / Lamberto Bava)
Beyond the Darkness (1979 / Joe D'Amato)
The Case of the Bloody Iris (1972 / Giuliano Carnimeo)
Don't Torture a Duckling (1972 / Lucio Fulci)
The Psychic (1977 / Lucio Fulci)
Shock (1977 / Mario Bava)

Hoping to watch our first tonight!

[Spun Lepton]

Of the list, I've only seen Shock and Don't Torture a Duckling. I know Duckling is enjoyed by some here, but I thought it was a slog. Shock is decent once you get past how derivative it is of everything that came out around that same time.

[megladon8]

http://s22.postimg.org/i98url4gh/Black_belly_of_the_tarantula.j pg

1971 / Paolo Cavara


The Black Belly of the Tarantula came out in a transitional phase for Italian horror, with Bava beginning to wind down and Argento just starting out. And this shows in how it draws from many of Bava's pioneering themes and techniques in the giallo subgenre, and obviously influences much of Argento's work (especially what some argue to be his best film, Deep Red). The Italian horrors of the '70s are like mini time capsules showing the styles and opinions of the time with a pungency unmatched in nearly any other area's output, and this film is no different. It's lush, exotic, colourful, erotic and shows some of the best work the subgenre has to offer.

Those with even cursory knowledge of the giallo will recognize visual and auditory motifs from the very opening frames - a focus on hands, loud and evocative music, rich colours in everything from the costumes and sets to the candycane red blood spurts. Everything has reason, and that reason may not make logical sense to the plot - similar to much of Argento's output, the film doesn't really "make sense", but if there is a predominant use of green in a room it is there for a reason. It's telling you something, whether that is about the plot or a character. In fact, if you pay very close attention to the repeated imagery from the start of the film, it actually tells you who the killer is very near the beginning.

We really enjoyed this one. It moves at a breakneck pace, Giancarlo Giannini carries it wonderfully, and while I called the mystery of the killer within the first 2 minutes of the running time, it did not detract from the enjoyment of the story at all.

Highly recommended!

[Rowland]

I wasn't too keen on The Black Belly of the Tarantula, but that viewing was way back in a time when I expected all giallos to play like Deep Red, and I was burnt out after a giallo binge. The Psychic isn't bad, but if you predict what's going on as early as I did, half of the film amounts to a pretty dull procedural; I prefer the more unhinged side of Fulci, which Don't Torture a Duckling (one of my favorite giallos) does a very good job of balancing with his more classical impulses. The Case of the Bloody Iris is fun sleaze, nothing more, but you should have a good time with it. You should add some Sergio Martino into the mix.

[MadMan]

I've only seen Don't Torture A Duckling:

This is a film that goes beyond the pale, trafficking in violence, hate and despair. Lucio Fulci, its director, was well known from creating horror movies featuring gore, extreme violence, and for being made on relatively low budgets. Even though I found the only other movie I've seen from him, The Beyond (1980) to be a messy and mediocre film, I actually thought that Don't Torture a Duckling, made eight years prior, to be somewhat decent. Perhaps this is due to his obvious giallo film being far more focused than The Beyond, which was meant to be a nightmarish landscape devoid of hope, joy, puppies or love, a hell feeding on our own fears.

Instead, Fulci creates what almost amounts to a crime mystery driven slasher film of sorts, as the police desperately try to solve a string of horrific and shocking child murders. Fulci's attempts to keep the viewer guessing probably worked better in the 1970s, as having viewed too many slasher movies at this point I kind of guessed who was and who wasn't responsible in the end. Furthermore, the film does drag a bit, taking way too long to finally get started and thus only becoming truly interesting in the second half. Based on what I've seen and read this movie dials down the gore factor a bit, although a scene where a woman is savagely beaten is quite disturbing, and Fulci cannot help but toss in some stark, bloody violence near the end of the movie.

Even though Fulci does also attempt to address religious intolerance, he tosses that bit aside in favor of trying to horrify the audience, as he did make a movie where children are the victims-something quite rare when it comes to horror movies. Certainly in the hands of a better director this could have been a rare gem, but having finally viewed a movie from him that I actually liked perhaps I'm willing to give Fulci another chance. Even though I will have to upgrade my Netflix plan to be able to see some of his more famous and well known movies. 70

BTW since then I've also seen and enjoyed City of the Living Dead.

[megladon8]

I wasn't too keen on The Black Belly of the Tarantula, but that viewing was way back in a time when I expected all giallos to play like Deep Red, and I was burnt out after a giallo binge. The Psychic isn't bad, but if you predict what's going on as early as I did, half of the film amounts to a pretty dull procedural; I prefer the more unhinged side of Fulci, which Don't Torture a Duckling (one of my favorite giallos) does a very good job of balancing with his more classical impulses. The Case of the Bloody Iris is fun sleaze, nothing more, but you should have a good time with it. You should add some Sergio Martino into the mix.


Thanks for the rec's and input! I am not sure which one we'll watch tonight - it's awful outside so it's movie watching weather (PS - it's mid-April, why are you snow-storming Ms. Nature? Screw you.)

We also re-watched Stagefright a few nights back. Great and totally off the wall.

[megladon8]

MadMan - I am not ignoring your thoughts on Don't Torture a Duckling :) It's one I have not seen so I am going to read your post after I see it.

[MadMan]

MadMan - I am not ignoring your thoughts on Don't Torture a Duckling :) It's one I have not seen so I am going to read your post after I see it.Hey its all good. I didn't know anyone read what I wrote anyways :lol:

[megladon8]

http://s29.postimg.org/3nmgysv0n/shock.jpg

1977 / Mario Bava


I was not prepared for how good Shock would be. Not that I don't have faith in Bava - his two Anchor Bay sets are some of my most prized DVDs, and I count Black Sunday as one of the best horror films ever. Bava truly was a master. But I have often found directors' swan songs to be underwhelming, particularly when they're exploring a genre that they have already pretty much "done". Shock, however, easily sits in the top tier of Bava's work. Unlike many Italian horrors (a genre I generally love and fascinate over due to its jarring style and creativity), Shock is quite scary. There are several unnerving scenes and images, and a few scares (especially in the second half) that stayed with me all night.

As Spun mentioned earlier in the thread, its plot is certainly derivative, especially when looked at side-by-side with other films of the time and shortly thereafter. We called the twists in plot by about the halfway point, and it doesn't have anything particularly different to add to the haunted house genre. That being said, everything here is done just so well, so vibrantly. Repeated instances of an almost zombified dead hand touching and caressing Daria Nicolodi, and her nightly feverish dreams provide some eeriness that keeps amping up the tension towards the finale.

Here's hoping we can keep this streak up, because we're now 2 for 2 with our Italian horror picks. In fact, we've found what may prove to be two new favorites!

[MadMan]

The Black Belly of the Tarantula was available on Netflix Instant Viewing a while back. I should have watched it. Shock is one of the last major Bava's I have left to watch, I think. Okay there are more but I viewed three of his most famous ones last Halloween, and I've seen some of his earlier ones too.

[Rowland]

We also re-watched Stagefright a few nights back. Great and totally off the wall.I'm a big fan of this one, which might in fact be my favorite Saovi. Cemetery Man is pretty awesome, but I sorta admire its audacity more than anything, whereas a recent viewing of The Church left me perplexed by its respectable reputation, since it struck me at times as borderline incompetent, though it obviously had its moments as well.

[Spun Lepton]

The Black Belly of the Tarantula was available on Netflix Instant Viewing a while back. I should have watched it. Shock is one of the last major Bava's I have left to watch, I think. Okay there are more but I viewed three of his most famous ones last Halloween, and I've seen some of his earlier ones too.

Bava's western/comedy Roy Colt and Winchester Jack is, unfortunately, a 3AC movie. ("Avoid At All Costs.") Frankly, I was embarrassed for the man. The story was dull dull dull and the comedy was pandering. It's on Netflix if you're brave or stupid or both. I'll give you a dollar if you make it all the way to the end.

[Spun Lepton]

I'm a big fan of this one, which might in fact be my favorite Saovi. Cemetery Man is pretty awesome, but I sorta admire its audacity more than anything, whereas a recent viewing of The Church left me perplexed by its respectable reputation, since it struck me at times as borderline incompetent, though it obviously had its moments as well.

100% agreed on The Church. Does it really have a decent reputation?

[megladon8]

The Church is one Jen and I always watched as a "so bad it's good" flick. It's pretty awful - and awfully boring at times, to boot.

Last night we watched Demons and Demons 2. Great fun.

[Spun Lepton]

The Church is one Jen and I always watched as a "so bad it's good" flick. It's pretty awful - and awfully boring at times, to boot.

There are definitely a few absurd and entertaining moments, (What's that light? SUBWAY TRAI---SPLAT!) but, yeah. Almost bad enough to be good, but never quite there. Fulci's so-good-they-bad movies during that era were pretty difficult to top.

[megladon8]

There are definitely a few absurd and entertaining moments, (What's that light? SUBWAY TRAI---SPLAT!) but, yeah. Almost bad enough to be good, but never quite there. Fulci's so-good-they-bad movies during that era were pretty difficult to top.


There's a hilarious line towards the end (which is more due to a bad dub than poor writing), wherein the old priest is being confronted and roughed up a bit, and he yells out something to the extent of "you can't do this to me! I AM THE CHURCH!"

Jen and I still randomly yell that at each other and it guarantees a fit of laughter.

"I AM THE CHURCH!"

[MadMan]

Bava's western/comedy Roy Colt and Winchester Jack is, unfortunately, a 3AC movie. ("Avoid At All Costs.") Frankly, I was embarrassed for the man. The story was dull dull dull and the comedy was pandering. It's on Netflix if you're brave or stupid or both. I'll give you a dollar if you make it all the way to the end.Oh, a challenge. Can I cheat and use booze? I keep forgetting that Bava made non-horror films too.

[Spun Lepton]

Oh, a challenge. Can I cheat and use booze? I keep forgetting that Bava made non-horror films too.

It's subtitled, so drink in moderation.

[MadMan]

Ah. Subtitles. The enemy of drinking during a movie.

[megladon8]

Apologies for the lack of updates.

We watched The Case of the Bloody Iris and A Blade in the Dark last night, so updates will come tomorrow!

[megladon8]

Eep - even more apologies for the delays here. Got back to work after my vacation to find that one guy quit (found a job in his field of study) and another had to go on medical leave, so I've been working my butt off picking up the slack.

Then I went away for training so I can now train and give licenses for power equipment operation.

Anyways, catching up...


http://s24.postimg.org/4bopiem39/iris.jpg

1972 / Giuliano Carnimeo (credited as Anthony Ascott)


The Case of the Bloody Iris is, for all intents and purposes, exploitative schlock. Boobs, sex, murder, some more boobs, a sex cult, more boobs, another murder or two (where we see boobs), then a typically giallo ending twist wherein the murderer turns out to be the absolute last person anyone would suspect despite the fact that it makes no sense at all. It's goofy and layered in '60s flower child style and sensibilities, both promoting the "free love" lifestyle taken up by many in that generation, while also demonizing a character who twists that lifestyle into one of chauvinistic control.

It's not a particularly good movie in any regard. There are some uncomfortably racist moments involving a black stripper (whose act involves rich white men getting a chance to overtake her in a grappling match, and if they succeed they get to take her as their "slave"), and the entire film has very dated views on sexuality and gender.

All that being said, it does have a certain energy to it. And to show the type of home reno nerds Jen and I are, we found it quite entertaining just to look at the various apartments, houses and rooms and how groovy the furniture and decor was back then. More than once we had to rewind because, while something important was happening on screen, we were both commenting on the really cool couch in the background.

Not highly recommended. Edwige Fenech certainly is lovely, but looking at her filmography, I imagine you could quite easily find something much better on which to spend your time ogling her.

[MadMan]

I always love how cool the set design is in some of Bava's films. Especially 5 Dolls For An August Moon.

[Mr. Pink]

I re-watched A Blade in the Dark recently and didn't enjoy it quite as much the second time around. It's really well made and has some decent scenes so it's worth a shot.

I have an original poster for The Church even though it's not particularly cool as a movie or poster.

[megladon8]

I re-watched A Blade in the Dark recently and didn't enjoy it quite as much the second time around. It's really well made and has some decent scenes so it's worth a shot.

We actually didn't enjoy this one much at all. Review will be up later today.



I have an original poster for The Church even though it's not particularly cool as a movie or poster.

Horror has to be the worst offender for classic movie posters that are brilliant, incredible, "frame it and be proud to display it in your $3,000,000 mansion" pieces of cinematic art...for an actual movie that is boring, dull, tedious, nigh-unwatchable crap.

There are so many beautiful posters for trash movies.

[megladon8]

I always love how cool the set design is in some of Bava's films. Especially 5 Dolls For An August Moon.


Yeah, I particularly love his gothic horrors. Black Sunday has some of the most beautiful set design I've ever seen.

[MadMan]

Having now seen more of his work I want to go back and watch the early Bava I enjoyed.

And yet many great modern movies have had crappy or mediocre posters. Go figure.