American video director Alex Ritt (Rick Gianasi) goes to Rome in order to shoot some promotional films for Italian singing sensation Stefania Stella (herself) only to find that a serial killer is at large in the city.
Since Alex's wife and a number of other women fell victim to a killer with a similar modus operandi back in New York, suspicion quickly falls upon Alex, forcing him to track down the killer in order to clear his name.
As far as this basic scenario goes, Fatal Frames doesn't sound too bad. Indeed, it's very much a classic giallo set-up obviously inspired by The Girl Who Knew Too Much, The Bird with the Crystal Plumage and Tenebre.
And, indeed, things get better when we consider that there are also plenty of iconic guest star appearance (ranging from Ciccio Ingrassia as a beggar, to Alida Valli as a blind seer, to Donald Pleasance as a detective, to Angus Scrimm as an apparent ghost, to Rossano Brazzi as a doctor) along with plenty of “violence numbers” and effective use of iconic locations like the Coliseum and the Trevi Fountain.
Unfortunately there are also many fundamental problems with the film.
At over two hours it's way too long. Most of the blame for this can be attributed to producer and star Stefania Stella, who just also happened to be the partner of writer, director and composer Al Festa. While the film isn't a complete vanity project, it's fair to say that the target audience were more interested in violence numbers than her musical ones. Nor does it help that Stella is neither the most attractive of women nor much of an actress.
Then there's the fact that Ritt and his male co-stars are from the same muscled, long-haired mould. While of benefit when it comes to the killer's identity, that the shadowy form of the killer could be any of them, it also means that one is frequently having to do a double take to tell who is who.
Then there's Festa's direction. He tries, but way too hard: Every scene is lit and filmed like a music video, stylised for its own sake. While a fair reflection of his own background and that of his protagonist, it makes for a tiring and confusing viewing experience as we're constantly having to determine whether this or that image is supposed to be subjective or objective and if the self-conscious use of technique has any significance or not at this particular moment. In terms of Koven's Pasolinian poetic / prosaic reading of the giallo, Festa has attempted to make every scene poetic, with the paradoxical result that all become prosaic.
The shame in all of this is that there's the sense of a leaner, meaner, better film struggling to escape from Fatal Frames' bloated form.
Sunday, 29 November 2009
Wednesday, 25 November 2009
Alfredo, Alfredo
This 1972 Pietro Germi comedy, starring Dustin Hoffman and Stefania Sandrelli as Alfredo and his “awful wedded wife” is never less than entertaining but doesn’t quite match the standard of the director’s earlier Divorce Italian Style, which also starred Sandrelli.
The film’s weakness, compared to its predecessor, is that everything doesn’t quite come together. The issue is not so much the change of setting, from an aristocratic Sicilian milieu to a bourgeois northern Italian one, nor the shift from 1960 to 1970, but what these in turn mean for the narrative.
In Divorce Italian Style, the all’italiana aspect referred to the possibility of Alfredo’s predecessor, played by Marcello Mastroianni, forcing his wife into an adulterous situation so that he could then kill her in a crime of passion, receive a light prison sentence and remarry.
Here the situation is inherently less grotesque and comic, with the film opening and closes with divorce proceedings before a magistrate.
Most of Alfredo, Alfredo, however, is told in flashback, splitting neatly into three acts of 30 minutes or thereabouts. Acts one and two come across as one film, a comedy, act three another, a drama.
The first act focuses on Alfredo (Hoffman) and Mariarosa’s (Sandrelli’s) courtship and culminates in their marriage. The second sees Alfredo realise what Mariarosa is actually like and culminates in her phantom pregnancy.
They work better than the third act, in which Alfredo meets Carolina and the focus shifts to the political urgency of reforming Italy’s antiquated divorce laws.
The presence of Dustin Hoffman as Alfredo is also something of a sticking point at times: It is not that he cannot play the role, which is close enough to being an Italian variant on the nebbish – just as Mariarosa’s overbearing mamma could equally be recast in Jewish terms – more that it doesn’t allow for much use of his famous method. (“Try acting... it's much easier!” as Laurence Olivier apocryphally commented to Hoffman, after he had deprived himself of sleep in order to better convey his character’s exhaustion in Marathon Man.)
Much of the time he is reacting more than acting, while the majority of his lines are delivered in voice over rather than to the other performers. This said, use of the device is appropriate to both Alfredo’s diffident nature and the retrospective narrative: A lot of the time Alfredo is, after all, commenting upon what he should have said or done at the time but did not. Moreover the device, like its use in Divorce Italian Style – with its brilliant closing words and images – imparts an additional degree of irony to the proceedings, insofar as there are still moments when Alfredo perhaps still doesn’t get it.
Stefania Sandrelli is brilliant as ever, while the supporting cast, including Alfredo’s father and his best friend, Mariarosa’s equally controlling parents are perfect in their roles.
The humour is perhaps also cruder than in Divorce Italian Style, with Mariarosa screaming whenever she has an orgasm and loudly breaking wind as she gives birth (fans of the TV series The Young Ones may see similarities with the ‘Cash’ episode where Vyvyan becomes pregnant).
There’s also a thought-provoking moment when Alfredo is sent to see the doctor to determine whether he is infertile: Is masturbation acceptable within Catholic doctrine if it is performed to determine whether one is capable of going forth, increasing and multiplying? If one is not, then does that mean masturbation is now okay as viable seed are not being spilt? Answers on a postcard to…
The film’s weakness, compared to its predecessor, is that everything doesn’t quite come together. The issue is not so much the change of setting, from an aristocratic Sicilian milieu to a bourgeois northern Italian one, nor the shift from 1960 to 1970, but what these in turn mean for the narrative.
In Divorce Italian Style, the all’italiana aspect referred to the possibility of Alfredo’s predecessor, played by Marcello Mastroianni, forcing his wife into an adulterous situation so that he could then kill her in a crime of passion, receive a light prison sentence and remarry.
Here the situation is inherently less grotesque and comic, with the film opening and closes with divorce proceedings before a magistrate.
Most of Alfredo, Alfredo, however, is told in flashback, splitting neatly into three acts of 30 minutes or thereabouts. Acts one and two come across as one film, a comedy, act three another, a drama.
The first act focuses on Alfredo (Hoffman) and Mariarosa’s (Sandrelli’s) courtship and culminates in their marriage. The second sees Alfredo realise what Mariarosa is actually like and culminates in her phantom pregnancy.
They work better than the third act, in which Alfredo meets Carolina and the focus shifts to the political urgency of reforming Italy’s antiquated divorce laws.
The presence of Dustin Hoffman as Alfredo is also something of a sticking point at times: It is not that he cannot play the role, which is close enough to being an Italian variant on the nebbish – just as Mariarosa’s overbearing mamma could equally be recast in Jewish terms – more that it doesn’t allow for much use of his famous method. (“Try acting... it's much easier!” as Laurence Olivier apocryphally commented to Hoffman, after he had deprived himself of sleep in order to better convey his character’s exhaustion in Marathon Man.)
Much of the time he is reacting more than acting, while the majority of his lines are delivered in voice over rather than to the other performers. This said, use of the device is appropriate to both Alfredo’s diffident nature and the retrospective narrative: A lot of the time Alfredo is, after all, commenting upon what he should have said or done at the time but did not. Moreover the device, like its use in Divorce Italian Style – with its brilliant closing words and images – imparts an additional degree of irony to the proceedings, insofar as there are still moments when Alfredo perhaps still doesn’t get it.
Stefania Sandrelli is brilliant as ever, while the supporting cast, including Alfredo’s father and his best friend, Mariarosa’s equally controlling parents are perfect in their roles.
The humour is perhaps also cruder than in Divorce Italian Style, with Mariarosa screaming whenever she has an orgasm and loudly breaking wind as she gives birth (fans of the TV series The Young Ones may see similarities with the ‘Cash’ episode where Vyvyan becomes pregnant).
There’s also a thought-provoking moment when Alfredo is sent to see the doctor to determine whether he is infertile: Is masturbation acceptable within Catholic doctrine if it is performed to determine whether one is capable of going forth, increasing and multiplying? If one is not, then does that mean masturbation is now okay as viable seed are not being spilt? Answers on a postcard to…
Monday, 23 November 2009
Tutti figli di mammasantissima / Sons of the Godmother / Italian Graffiti
While no one could ever mistake Sons of the Godmother for a good film, it is a prime example of the possibilities that don't exist now. For its director, writer and co-star Alfio Cantalbiano was best known as a master of arms and stuntman. After his film career ended he then established a gymnasium. In other words, he was the sort of talented jack of all trades with little place now other than doing one thing and one thing only.
Moreover, the film is one which doesn't quite fit into the post-Godfather gangster filone as might be expected. While familiar crime film faces such as Tano Cimarosa and Luciano Catenacci are present, the protagonist and set up actually have more in common with the spaghetti western “servant of two masters plot” and the general sensibility the comic western.
The place is Chicago, the time is 1929. But Capone is conspicuously absent, as the Italian and Irish gangs of the Morano brothers (Catenacci and Cimarosa) and 'The Reverend' (Cantalbiano, under his Alf Thunder name) vie for control of the bootleg liquor trade, especially whisk(e)y.
They are in a stalemate until the arrival of Salvatore Mandolea (Pino Colizzi) from Sicily in a crate.
But rather than siding with his countrymen he proves a trickster figure intent upon playing both sides against the middle, although there is a departure from spaghetti western formula here insofar as romance with Catenacci's daughter Assunta is as important as the money to Mandolea; being played by Ornella Muti, one can understand why.
The spaghetti western aspect is enhanced by the frequent mass brawls, along with the use of accelerated motion and slapstick elements in the manner of the Trinity series.
The opportunity to evaluate Cantalbiano's directorial abilities more generally is hampered when watching the film in a panned and scanned version.
The De Angelis brothers provide a typically eclectic soundtrack, although one which also works in terms of indicating to us that we are not supposed to take anything too seriously.
[Interview with Cantalbiano: http://www.thewildeye.co.uk/blog/?p=525]
[Pollanet page: http://www.pollanetsquad.it/film.asp?PollNum=123]
Moreover, the film is one which doesn't quite fit into the post-Godfather gangster filone as might be expected. While familiar crime film faces such as Tano Cimarosa and Luciano Catenacci are present, the protagonist and set up actually have more in common with the spaghetti western “servant of two masters plot” and the general sensibility the comic western.
The place is Chicago, the time is 1929. But Capone is conspicuously absent, as the Italian and Irish gangs of the Morano brothers (Catenacci and Cimarosa) and 'The Reverend' (Cantalbiano, under his Alf Thunder name) vie for control of the bootleg liquor trade, especially whisk(e)y.
They are in a stalemate until the arrival of Salvatore Mandolea (Pino Colizzi) from Sicily in a crate.
But rather than siding with his countrymen he proves a trickster figure intent upon playing both sides against the middle, although there is a departure from spaghetti western formula here insofar as romance with Catenacci's daughter Assunta is as important as the money to Mandolea; being played by Ornella Muti, one can understand why.
The spaghetti western aspect is enhanced by the frequent mass brawls, along with the use of accelerated motion and slapstick elements in the manner of the Trinity series.
The opportunity to evaluate Cantalbiano's directorial abilities more generally is hampered when watching the film in a panned and scanned version.
The De Angelis brothers provide a typically eclectic soundtrack, although one which also works in terms of indicating to us that we are not supposed to take anything too seriously.
[Interview with Cantalbiano: http://www.thewildeye.co.uk/blog/?p=525]
[Pollanet page: http://www.pollanetsquad.it/film.asp?PollNum=123]
Sunday, 22 November 2009
Black Aria
Christophe Robin and François Gaillard have just finished Black Aria, a self produced Giallo.
More info about it here:
http://www.lovelockandload.net/forum/index.php?topic=3489.0
And teaser trailer:
http://www.youtube.com/watch?v=EoDRXWpuvzY
Thanks to Eric for the info.
More info about it here:
http://www.lovelockandload.
And teaser trailer:
http://www.youtube.com/watch?
Thanks to Eric for the info.
Gebissen wird nur nachts / Mezzo litro di rosso per il conte Dracula / The Vampire Happening
[Note that this review contains spoilers]
The Vampire Happening is, to all intents and purposes, a contemporary re-make / rip-off of Roman Polanski's Dance of the Vampires, with a modish late 1960s happening substituting for the vampire's annual ball.
The filmmakers freely acknowledge their inspiration through the casting of Ferdinand Mayne as the head vampire, here none other than Dracula himself, and a similar flip/cynical ending which sees vampirism able at last to move beyond its Transylvanian heartland – albeit via jet plane going to Hollywood rather than horse-drawn sledge.
Betsy Williams (AKA the Countess Von Ravenstein, AKA Pia Dagermark) in...
A film within the film, with Dance... inspired credits
This said, the film also contains echoes of other vampire films of the period, including Malenka AKA Fangs of the Living Dead, in the painting that reveals the uncanny likeness between our heroine and her undead ancestress; Lust for a Vampire, in the lesbian vampire in a girls' school motif and Jean Rollin's sexy vampire films, in general surrealistic weirdness if not obvious personal obsession.
The painting as double
The distinction on the last count is that the film was helmed by Hammer and Amicus regular Freddie Francis, a man whose films as a director are marked by what I'm tempted to call a professional detachment or indifference: He'd do what was needed, but rarely go that extra mile nor really identify with his material.
What we get are various comic and nudie-cutie type comic scenarios along with various sight gags and one-liners: A 20-something sexy school student remarks of her Dutch-lesbian teacher Miss Nielsen that “that dyke should go back to Holland”; Mayne's Dracula tells another vampire to “Call me Christopher. I'm sure he won't mind”; and a broadcast from Radio Transylvania warns that "the local blood bank is running low and requests donors report to Dr Frankenstein”...
One difference between The Vampire Happening and its model here is the sense of toleration: While Count von Krolock's homosexual son is undoubtedly a stereotype, as is Alfie Bass's Jewish inkeeper turned vampire (“Oy, you got the wrong vampire,” when the serving wench tries to scare him off with a crucifix) they are more affectionate than mocking. Here, by contrast, the camp airline steward is unnecessary while the lesbian vampire teacher is now doubly marginalised, her advances rejected by the same 20-something but now undead students.
Another of the film's targets is the Catholic church, with a monk and the abbot getting bitten; the abbot, a peeping tom in life, insisting that they maintain their old hierarchy.
That the film is of West German origin meanwhile explains why it could not follow its model here: Jewish vampire jokes have a different meaning when made by a filmmaker of Jewish origins than by Gentiles.
The sight of Betsy encourages one of the monks to see sexual symbolism everywhere he looks, with the woman-statue not out of place in the likes of Bunuel.
It's all very hit and miss and, at 102 minutes, undoubtedly has one or two characters, ideas and skits too many.
The Barbara Steele-esque confusion over the identity of Pia Degermond's 20th century US actress, Betsy Williams, and her great-great- Transylvanian ancestress Clarimdone is well played, however, while the fact that Degermond spends much of her time as Betsy not wearing much and the rest as Clarimonde wearing even less (other than a black wig) is an obvious attraction.
More impressive in itself than Bray studios?
The same might be said for Jerry Van Rooyen's very happening soundtrack (cuts from which are available on Crippled Dick's At 250 Miles Per Hour compilation), and the production design, with good use being made of an actual castle.
The Vampire Happening is available on a good but long OOP Anchor Bay DVD and a not so good Alpha one, neither unfortunately presenting it in the original German dub.
The Vampire Happening is, to all intents and purposes, a contemporary re-make / rip-off of Roman Polanski's Dance of the Vampires, with a modish late 1960s happening substituting for the vampire's annual ball.
The filmmakers freely acknowledge their inspiration through the casting of Ferdinand Mayne as the head vampire, here none other than Dracula himself, and a similar flip/cynical ending which sees vampirism able at last to move beyond its Transylvanian heartland – albeit via jet plane going to Hollywood rather than horse-drawn sledge.
Betsy Williams (AKA the Countess Von Ravenstein, AKA Pia Dagermark) in...
A film within the film, with Dance... inspired credits
This said, the film also contains echoes of other vampire films of the period, including Malenka AKA Fangs of the Living Dead, in the painting that reveals the uncanny likeness between our heroine and her undead ancestress; Lust for a Vampire, in the lesbian vampire in a girls' school motif and Jean Rollin's sexy vampire films, in general surrealistic weirdness if not obvious personal obsession.
The painting as double
The distinction on the last count is that the film was helmed by Hammer and Amicus regular Freddie Francis, a man whose films as a director are marked by what I'm tempted to call a professional detachment or indifference: He'd do what was needed, but rarely go that extra mile nor really identify with his material.
What we get are various comic and nudie-cutie type comic scenarios along with various sight gags and one-liners: A 20-something sexy school student remarks of her Dutch-lesbian teacher Miss Nielsen that “that dyke should go back to Holland”; Mayne's Dracula tells another vampire to “Call me Christopher. I'm sure he won't mind”; and a broadcast from Radio Transylvania warns that "the local blood bank is running low and requests donors report to Dr Frankenstein”...
One difference between The Vampire Happening and its model here is the sense of toleration: While Count von Krolock's homosexual son is undoubtedly a stereotype, as is Alfie Bass's Jewish inkeeper turned vampire (“Oy, you got the wrong vampire,” when the serving wench tries to scare him off with a crucifix) they are more affectionate than mocking. Here, by contrast, the camp airline steward is unnecessary while the lesbian vampire teacher is now doubly marginalised, her advances rejected by the same 20-something but now undead students.
Another of the film's targets is the Catholic church, with a monk and the abbot getting bitten; the abbot, a peeping tom in life, insisting that they maintain their old hierarchy.
That the film is of West German origin meanwhile explains why it could not follow its model here: Jewish vampire jokes have a different meaning when made by a filmmaker of Jewish origins than by Gentiles.
The sight of Betsy encourages one of the monks to see sexual symbolism everywhere he looks, with the woman-statue not out of place in the likes of Bunuel.
It's all very hit and miss and, at 102 minutes, undoubtedly has one or two characters, ideas and skits too many.
The Barbara Steele-esque confusion over the identity of Pia Degermond's 20th century US actress, Betsy Williams, and her great-great- Transylvanian ancestress Clarimdone is well played, however, while the fact that Degermond spends much of her time as Betsy not wearing much and the rest as Clarimonde wearing even less (other than a black wig) is an obvious attraction.
More impressive in itself than Bray studios?
The same might be said for Jerry Van Rooyen's very happening soundtrack (cuts from which are available on Crippled Dick's At 250 Miles Per Hour compilation), and the production design, with good use being made of an actual castle.
The Vampire Happening is available on a good but long OOP Anchor Bay DVD and a not so good Alpha one, neither unfortunately presenting it in the original German dub.
Saturday, 21 November 2009
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