Film Forno

What a great movie! I just saw it on TCM for the first time in many moons. Last time I saw The Hidden Fortress was at the Film Forum in NYC. This film works on many levels, Toshiro Mifune is as always, great, a super star of the silver screen! One of the greatest film actors of all time.

Toshiro In Trouble

Kurosawa is at the top of his game, emotion comes pouring off the screen in powerful and subtle ways. This film is an amazing amalgam of formal and spontaneous aesthetics, Japanese formal composition, the Princess in her court, and then the action of hiding out with the two peasants, it inspires deep feelings of loyalty, patriotism, friendship. Do these feelings exist, are they in our lives, I mean really, are they concrete parts of our existence or merely vaporous thoughts that disappear between your fingers like disapating smoke when you try to grasp them. When was the last time you had to defend your Princess against an army of killers?

Spunky Princess
Yet we all have instilled in us from birth, ideals that stongly influence us, our morality, our decision making, our life. Films like this one exercise our moral self and that is what gives them their power. Sacraficing one’s self to a higher cause, it’s not something we’re called upon to do often or ever. But would you? This is a basic question of human existence, of civilization, and it is beautifully expressed in The Hidden Fortress. Also the two peasants that exhibit all the human failings and foilbles, they’re greedy, lustful, envious, you name it, and they’re funny. By coincidence I happened to see Robert Altman’s Gossford Park recently. A great film that deals with the juxtaposition of the serving class and the ruling class at a mansion in the countrty. There is a whole tradition of servant/ master drama and comedy that both of these films are a part of. But Hidden Fortress also works purely as an Adventure story and a Spectacle. It’s a magnificent film, maybe my favorite Kurosawa film. As everyone by now probably knows Star Wars bears a striking resemblence to this film, the peasants are replaced by bickering robots, there’s a feisty Princess and some Heroes to save her.

Ultra Cool Bad Guy!
Star Wars is populated with a lot of characters that you can sell as action figures and toys but the basic plot is the same. I think Lucas has acknowledged this, he did an introduction to the Criterion DVD release but I haven’t seen it. Sergio Leone remarked in the press that he saw Yojimbo and was inspired to make A Fistfull Of Dollars. Kurosawa sued and won the rights to that film for Japan. Leone pointed out that that plot device was used by Dashiell Hammett in The Glass Key but to no avail, he had to pay up. I guess Lucas was smart enough to keep his mouth shut, at least while Kurosawa was still alive. But I think The Hidden Fortressis a vastly superior film to Star Wars. I wonder if Kurosawa ever read any Joseph Campbell?

Lucas, you owe me big time!

I just watched a powerful film noir. Made in 1950 it features some great locations and an outstanding performance by Lloyd Bridges. For my money this is one of his best. He plays an amoral killer named Jerry and he steals the show.

Is This The Same Alley Where The Dude Would Learn To Bowl?

We start out following the story of Howard Tyler( Frank Lovejoy). he’s an out of work regular schmoe whose wife is pregnant and who owes the grocery store and the landlord. He can’t get a job to save his life and when his wife starts bawling he grabs his coat and hits the street. Unfortunately for him he drops in at a local bowling alley for a beer and bumps into Jerry Slocum (LLoyd Bridges). If only he hadn’t gone into that particular bowling alley at theat particular moment. But it’s a Noir Universe our schlubby hero has fallen into and as such, he’s Out Of Luck.

Don’t go in there! Get out while you can!

Howard watches Jerry roll a strike and they start talking, within instants Jerry is ordering Howard around. ” Get My shoes, will ya.” He tantalizes the poor schnook with the offer of a potential job and Howard is hooked like a trout in a lake.

The Reporter and The Incipient Criminal coincidentally rub elbows at the Bowling Alley Of Destiny.

Meanwhile in the very same bowling alley Gil Stanton (Richard Carlson), Ace Reporter for the local paper is kibitzing with the barkeep. His story is told in parallel with Howard’s although you don’t know why until later. So by now Jerry has Howard back at his flat where he proceeds to show off his expensive wardrobe and treat Howard like his personal valet. ” That’s real silk! Feel it. Those cufflinks are platinum, button’em up for me.”

The composition of this Shot says it all!

Jerry plays Howard like a fish and when he tells Howie the job he has in mind for him is driving the getaway car while Jerry sticks up gas stations, Howard gets cold feet. But Jerry gets mad, calls Howard a loser, throws 10 bucks at him and tells him to beat it. It plays out like a seduction and Lloyd is amazingly good at it. His character is so well drawn, so true, it’s a mind blower.

The 1st Stick-Up

The heat builds and Jerry and Howard pull off a kidnapping. This is the big score, they can make some real money now. Unfortunately Jerry smashes the trussed up young rich guy’s head with a rock before the horrified Howard’s eyes.

Murder Most Foul!

The newspaper man writes a sensationalistic piece calling for blood and when the two crooks are caught a lynch mob descends upon the jail and tears it apart.

Sensationalistic Journalism, Go Peddle Your Papers

Just before this happens the reporter has a change of heart, due partly to an emotional visit from Howard’s wife. He tries to change his latest bloodthirsty editorial but the greedy publisher just wants to sell more papers and he’s not about to change his headline!

The Wife’s Best Scene, where she confronts the rabble rousing reporter

This movie is a real indictment of mob violence and the social responsibility of the media.

The Mob Wants Blood!

Jerry in Jail with a Lynch Mob Howling For His Head!

Here’s a switch, The Mob Uses A Fire Hose On The Cops!

Howard is carried like Jesus to Golgotha!

It also hit home for me on a personal note. I had a friend , a very nice guy, he was a musician. Like a lot of musicians he augmented his income by dealing drugs, pot, then blow. He turned a big rock star onto some coke and the guy reciprocated by turning my pal onto some high grade heroin. My buddy got strung out in no time flat. The rock star had to suddenly split and my pal was cut off, no dope. He was cracking up. He told me he drove a getaway car for a stickup guy, a junkie like himself, just to get some money so he could score drugs. Now this was a guy who wouldn’t hurt a fly. He was an artist, peaceful, really a great guy. So when I see Howard roped into crime because of need, I flash on my pal. I could see how it could happen. My buddy’s dead by the way. He straightened up, got sober, got married and then found out he was HIV positive from sharing needles.
Sound Of Fury was directed by Cyril Endfield. He ended his days in England, forced to move there after he was blacklisted in the 50’s for being a Commie. This story was concerned with Society and the different types of people interacting in it, and how they viewed their morality , their responsibility to society, their identity. Cy Endfield later directed the excellent Zulu, the film that launched Michael Caine’s career. And if you think about it, Zulu is about a microcosm of society, a regiment of soldiers, hopelessly outnumbered, that perseveres through working together, a great story for a Socialist to tell.
Also of note, this film was written by Jo Pagano, based on her novel. I’d like to find out more about Ms. Pagano. A woman writing this ultra violent noir in the 50’s? She sounds pretty unique to me.

After writing the above line I captured this frame, it says based on his novel, so I guess Jo Pagano was a man. Although there is some confusion on the IMDB.

Kon Ichikawa is dead at age 92. He made some great films , The Burmese Harp, Fires on the Plain, Tokyo Olympiad, Odd Obsession. He got interested in filmmaking by watching The Silly Symphonies of Walt Disney. These animated films had a worldwide influence and I’ve heard them mentioned by many filmmakers as being inspirational. Ichikawa’s first feature A Girl At Dojo Temple was made using puppets due to a lack of men during WWII. Sort of like that film about Karen Carpenter a few years ago. Fare Thee Well Ichikawa-San.

I just watched Umberto Lenzi’s Un Posto Ideale Per Uccidere AKA Dirty Pictures or the english title I prefer Oasis Of Fear. This is a great film! The cast is superb, Ray Lovelock, in perhaps his greatest role, Ornella Muti, so young, so beautiful, so innocent and so sexy, Irene Papas, so dark, so severe, so attractive, like a sexy Greek witch.

This movie is a little like Hansel and Gretel with a sexy witch enticing our two innocent children into her gingerbread house, although the house isn’t made of gingerbread, candy canes, gumdrops, spun sugar. It’s made of champagne, caviar, exotic, erotic clothes, cigarettes, psychedelic music, and sex. Our story begins in Denmark where our two hippie love children are on holiday. They see the sights, run around Copenhagen and cavort like extras in a Dava Clark Five movie. But suddenly the Italian genre sensibility kicks in. They go into a Sex Shoppe, buy a ton of porno mags and bring them back to Italy to sell so they can pay for their vacation.

This works out great, they’re rich, they live like hippie Gods in Italy, eating at fancy restaurants, feeding champagne to cats, releasing doves at stuffy establishments, dancing at psychedelic discos, just having fun. There’s a scene that I find fascinating. At one point Ray sells a 45 record of people having sex to a foppish rich guy on a yacht.

Is That Moana Climax and the Heavy Breathers?

I’ve heard of “porno records” but I’ve never seen one. Frank Zappa was once busted for producing a “pornographic recording” and selling it to an undercover cop. Did people actually sit around at a stag party and listen to a record of people having sex? I heard Mickey Cohen bugged Johnny Stompanto’s bedroom and recorded Johnny and Lana Turner going at it.

You wanna go listen to a record?
Johnny Stomp
Oooooh Johnny, You Bug Me!
The Mickster made a ton of money selling pressings to Hollywood hipsters to play at Tinseltown shindigs. But back to Oasis of Fear, our two heroic hippies run out of cash and decide to produce their own dirty pictures starring themselves,

they do but they get busted in Pisa trying to sell their wares and are told to leave the country,
Is that the leaning tower of Pisa or are you just happy to see me?

they hit the road in their old MG and run out of gas out in the country. They spy the beautiful estate of the wicked witch and push their car in hoping to get some gas.

At first Ms. Pappas tries to run them off, but then mysteriously she switches gears and invites them in. She offers them refreshments of all sorts, access to her copious closets of exotic outfits. Ornella dons an Eastern sari, she looks incredible, a vision from the Orient and she dances to a sitar record like a shimmering jewel.

at one point Irene looks at her through a cut crystal goblet and we get a telidoscopic view of Ornella’s bare breasts spinning psychedelically before our eyes.


A bare chested Ray assumes various Yogic poses at the command of Ms. Muti, The Lion, The Cobra, ” We are each other’s total slaves” he says to a bemused Irene.


A heady brew of sexual intrigue is bubbling furiously on the stove when murder and treachery rear their ugly heads. I’m not going to reveal what happens, YOU must seek out this film to find out for yourself. One of the aspects of this film I find so appealing is the summoning up of a bygone time. The 60’s, the Age Of Aquarius, the Innocence of these two young beautiful people perfectly captures that time and let’s us re-expieience it, like a fly in amber or Ruth Gordon’s scent collection in Harold and Maude. There is a dance scene with a rock band playing and our heroes frugging and watusiying their hearts out. It captures the energy of that time perfectly.


You can feel what it was like to be alive then. To feel like the world was yours, sex and music were a magic carpet to fly you around the globe.


This is the birthright of every person, an ideal we’ve lost touch with today. This is one reson why films like this are important. They’re the Dead Sea Scrolls of the hippie era. We can all learn a lot about the Spirit of that Age. This is also a reason why I feel Lenzi is a great filmmaker. His film resonates with truth, true senasations, what a real person would feel, not some corporate crap selected by a demographic computer print out. There’s a dance scene in Mike Hodges’ great Get Carter that rings true with the same soul transporting realism. He also is a great filmmaker and you can tell from details like this. But for me the stars of this film are the stars. Lovelock and Muti are so captivating, so charming, you really care about them. And Irene Pappas is so evil, she’s great! The score is by Bruno Lauzi, a pop star singer. It’s great, melodic, moody, jazzy. Even the pop song that’s used in the film is excellent. It works , it’s got a hook, it grabs you and you dig it. I think the Marc 4 played on this song because the bassline is so ass kickingly funky and hip, it must be the incomparable Maurizio Maiorana.

Looky here I just found the opening credits on YouTube!

I went to see the new Rambo movie. It was pretty good! Stallone is powerful as Rambo. He’s like Frankenstien or King Kong, a monster that is charmed by a beautiful woman. And for me the power of the film lies in that archetype. The structure of the film is sort of unique. It starts off normally, (actually it starts with documentary footage of dead bodies, my least favorite part of the movie) the predictable story kicks in but Stallone has reduced Rambo to a pure icon, almost like the stenciled logo on the poster. He hardly speaks, he just is. The way a movie hero should be. Like Clint Eastwood in the Spaghetti Westerns of Sergio Leone. And in spite of his taciturn behaviour (or maybe because of it) you can’t help but feel for this poor guy, turned into a killing machine by a country that threw him on the garbage heap once his usefulness was finished.

And when a self sacrificing woman sparks a glimmer of empathy from this monster, you can’t help but be moved. The story precedes as expected with the missionaries being captured and Rambo having to rescue them. This is where the mercenaries come into the picture. And this is why I saw the movie. My friend Jake La Botz plays Tombstone, a young mercenary. He gets to sing an original song of his own composition as they travel up river on Rambo’s boat. By the way Jake plays Eddie in my film One Night with You and does it amazingly well.

But back to Rambo. Once they get the missionaries out of the prison camp, the film drops all story elements and becomes pure iconography. There is almost no dialog. It’s pure action, pure images and sounds. Even the end where you’d expect some sappy dialog is shorthanded to looks and monumental close ups of Rambo. And sort of like Hitcock’s trick in North By Northwest where Cary Grant and Eva Marie Saint are hanging off Mount Rushmore cut to them making out on a speeding train, Rambo is standing on a Burmese riverbank surrounded by hundreds of dead soldiers, the aftermath of a savage battle, cut to him walking along a road in Arizona, the mailbox says R. Rambo, he’s home after all that time, he walks onto a farm ,complete with green grass, horses, mountains clouds. I’m reminded of Sterling Hayden’s return to his Kentucky farm at the end of The Asphalt Jungle. He returns to his home so he can die. There’s a cool nightmare featuring old clips from the other Rambo films that feels like Stallone is looking back on his life, there’s also a great scene of Rambo forging a machete, Stallone looks like Hephasteus , the blacksmith of the Gods, hammering a chunk of glowing metal. Here’s a video of Jake on his Tattoo across America Tour.

Thanks to the crazy cats at Popcorn and Sticky Floors I found this trailer from The Friends Of Eddie Coyle which by the way I feel is Peter Yates best film. I like it better than Bullitt. Robert Mitchum is great in it , an incredible understated performance complete with believable Boston accent. Peter Boyle is excellent as well. This is a gritty crime film with great acting, how can you top that! Kind of a cross between a John Huston film and an Umberto Lenzi politziotto! I worked with Peter Yates a few years back, travelling with him to Chicago to preview Suspect, he’s a real gentleman and he said he had a great time making this film. It was edited by the cigar smoking ex-wife of Roy Schieder, Cynthia Schieder. The trailer brought back some memories for me, hearing that snarling rasp of the narrator I immediately recognized him as Bob Marcato. I worked as an editor at a trailer company in NYC back in the 80’s and used Bob all the time. His voice is plastered all over exploitation trailers from the 70’s. He has such a distinctive snarl once you hear it you can never forget it. For some reason (probably a contractual thing) this film has never been released on dvd, I’m not sure if it ever came out on VHS! I had a copy somewhere but it was made from Peter’s own transfer. Maybe through my pals at Triage Motion Picture Services I can ask a mucky muck at Paramount what’s up with this unreleased gem and if I get any news I’ll post it here.

Added bonus! Here’s a link to Whitey Watch, a fascinating study of Boston organized crime and the elusive fugitive Whitey Bulger.

I picked up a copy of Peter McCurtin’s 1970 pulp novel Mafioso. This is the book Fernando Di Leo adapted for his 1973 film Il Boss(USA Wipeout). The main reason I got it was to see if the story continued beyond the ending of Il Boss, because at the end of Il Boss, there’s a title that says CONTINUA (to be continued).

I figured the story in the book must go on for a while to a conclusion. But I found out, although it has a different ending, the film actually has a few more scenes than the novel. Let’s start at the beginning. Nick Lanzetta (Henry Silva in the movie) is a rising star, ultra cold blooded killer, his first hit, blowing up a rival gang in a movie theater with a grenade launcher fired from the projection booth, is lifted right out of the book, the main difference being in the movie the Don and his cohorts are watching a porno film, in the book a gangster film. By the way the book takes place in Brooklyn and the author uses a lot of real locations, I lived there for a while and could easily picture where things were happening, the movie takes place in Sicily. The other main differences are, the head of the rival gang is a black guy named Coakley, in the movie he’s an Italian named Cocchi. Don Corrassco (Richard Conte in the movie) does not want to make peace with the rival gang because they’re not Sicilian, in the book because they’re black. In the movie the corrupt cop (Gianni Garko) wants to maintain order in the mafia that’s why he helps them, sort of a proto-fascist. In the book the corrupt cop is an old Irish guy, he’s just looking for some extra money.

Pignataro Kills Don Corrassco. This is where the film really differs from the novel and for my money the film’s ending is vastly superior.

The main differences are at the end. In the book Lanzetta and his lieutenant, Pignataro recruit the other gang members and do a air/ sea assault on the Don’s Long Island compound. It’s the worst thing in the book. Di Leo’s denouement is far superior. Then Di Leo goes one step further, he has Pignataro try to kill Lanzetta, egged on by the lawyer who seems to represent the Pope! In the book Lanzetta and his men kill Don Corrassco and Lanzetta assumes control of Corrassco’s family. I think Di Leo found this unbelievable to an Italian audience. In America you can fight your way to the top of the heap, a guy starting out with nothing can become rich and powerful. In Italy with all the centuries of family history, it’s much more difficult to jump above your station. Case in point, when I was in Rome I met a lot of up and coming directors. A few complained to me that they couldn’t get their films produced while their contemporaries, whose families had been in the film business for generations got theirs produced right away. It’s just the way it is. Also I was surprised at how similar the scenes between Lanzetta and Daniello’s daughter Kate were. The arguments they have while shacked up in Lanzetta’s apartment are almost verbatim in the film and they’re great.

Silva and the Dead Don’s Daughter

Great Art often comes from transplanting an idea from one culture to another and back again. This is an interesting study in cross cultural fertilization. Comparing the film and the novel was fascinating and I recommend the book to any fan of the film.

Martin Scorsesce produced and narrated a film about producer Val Lewton, Val Lewton: The Man In the Shadows. It’s very good and it’s great to see an under appreciated filmmaker get his due. TCM showed a lot of Lewton’s work, especially the RKO stuff, to complement the premier of this documentary, directed by Kent Jones by the way. So much has been written about Lewton’s films, I don’t want to repeat what’s already been said but let me throw my 2 cents in. His work especially with Touneur, wise and Robson was so subtle and atmospheric, so artfully made (Nicholas Musuraca is one of the all time masters of B&W cinematography, check out Out Of The Past and Albert S. D’Agostino , one of the greatest Production Designers ever to put a fountain on a set) There’s nothing today that compares with this quality filmmaking! Nothing!

And here’s something I noticed in Cat People. There is a transitional device almost like a fade to black and back but it’s not, it’s an optical that mimics a shadow passing in front of the camera, like a black panther wiping the lens. I’ve never seen this technique used elsewhere and I’ve never heard mention of it made by anyone. It is very subtle and because it’s used to transition from one scene to another it’s accepted as a typical fade in/out yet it creates a sense of unease that sneaks up on you, just like the rest of the film. It slowly wraps you up in a fog of suspense so suddenly you realize you’re lost, in a dark place at night and something may be following you. The documentary also tells you how hard Lewton worked. He killed himself making these films for unappreciative assholes. It’s just not right. And then Mark Robson, the editor he promoted to director, at great personal cost, screws him out of a partnership with Robert Wise and himself! They don’t give the details in the documentary but it certainly makes Mr. Robson look like a scumbag. By the way this review is part of the Val Lewton Blogathon, hosted by The Evening Class.

How could you do it, Mark Robson?

Maestro Fernado Di Leo between the two babes from Avere Vent’anni

I just watched an Italian language version of Fernando Di Leo’s great poliziotto Il Boss (Wipeout USA). A very cool film, I had the good fortune to see it on a double bill with Montaldo’s MachineGun McCain at Quentin Tarantino’s Grindhouse Film Festival. The Italian version is a bit different, for one thing a lot of subtlety is lost in translation, at least it seemed that way to me, the Italian language version created an overall impression of more political corruption and intrigue. It seemed more real in a way. commissario Torri (Gianni Garko) is in bed with local Mafiosi,

Gianni Garko, commissario Torri, Order in the Mob!

informing them of police action, he has a house and bank accounts given to him by the Mob but he justifies his activities by saying he’s all about “Order”, and only the Big Bosses can maintain order among the Underworld. Is this a rationalization? does he really believe he’s helping Society with his proto Fascist philosophy? The film doesn’t give any definite answers but it’s the questions I find fascinating. Lanzetta (Henry Silva in one of his most iconic performances) is a ruthless, cold blooded killer.

Henry Silva, looking like an Incan head carved from Stone

A monster raised by a Mafia don, almost like Frankenstien, except this monster succeeds in destroying his creator. The dialog between Lanzetta and Rina Daniello (Antonia Santilli) has more dimension in the Italian version.

Have a shot of the Italian Gangster’s Favorite, J&B!

She keeps calling him “Larry” which pisses off Lanzetta to no end. Their conversations seem almost improvised, very natural. The sequence where they shack up in Lanzetta’s apartment is one of the strangest in all Crime Cinema! A full blown Mob War is raging in Palermo and right at the height of it, the guy who started it all is locked away screwing his brains out with the daughter of his ex-boss! He even complains to her that he’s spending too much time in bed with her. It’s like it’s the first time this monster has had sex. Another point that struck me more forcefully in this version is this: the film opens with one of the greatest hits in all Mafia Films, Lanzetta fires a grenade launcher from the projection booth into a theater full of Mafia dons about to watch a Swedish porno film. It’s as if the projector literally becomes a Death Ray! The Power Of Cinema!

Coldest Killer in Cinema!

But my point is this, in the aftermath of the killing, at the morgue, one guy is hysterical, screaming for revenge, nothing will satisfy him but blood!

First To Rat!

This is Attardi (Gianni Musi), later when the gang has kidnapped the daughter of the Don responsible for killing half their family, Attardi wants to kill her with his bare hands, he has to be restrained by his brothers. But Attardi is the guy who rats out the family! He tells Lanzetta where they’re holding the girl! This strikes me as so true, the over dramatic guy, screaming for revenge is the one who rats out his family! Di Leo’s crazy characters really ring true! I also noticed a funny thing, when Lanzetta is in the projection booth preparing to send the audience to Hell, the projector is running but there is no film in it! The reels are empty! Check it out.

The Boss Never Sleeps

Richard Conti is great as the insomniac Boss of Bosses and Pier Paolo Capponi is excellent as Cocchi, the rival hitman, he is like a tough Italian John Casale.

Cocchi, Casale’s Cousin From Palermo

And here’s another strange thing, at the end of the film in the Ameriacan version it ends with Lanzetta walking off down a road, in the Italian version it cuts to the lawyers office where he gets a phone call and a title appears, Coninua, to be continued. What ever happened to Part Two? I guess it never got made, too bad, I’d love for this film to keep on going!

I Wish!

I had dinner with the lovely, eternally young Barbara Bouchet during the Grindhouse festival. I asked her about working with Di Leo, she said she loved it, that when they made a film it was like one big happy family, a joy to be involved with. I was happy to hear that. As I watched Wipeout at the New Beverly Cinema Quentin was sitting next to me, he leaned over and told me that Di Leo is one of his, maybe his favorite director of all time. He also said he heard an interview where Di Leo was asked ” Are there any directors working today that you admire, or that remind you of your own filmmaking?” Di Leo replied, ” Yes, Quentin Tarantino!” It made Mr. Tarantino very happy.

Watching this Argento masterpiece I suddenly became aware of a phenomenon, it was something I’d thought about in other films but here in 4 mosche di velluto grigio it was so clearly exercised it jumps out and hits you over the head just like the killer in this movie. I’m talking about the use of perceived space or sense of place, private, personal space and public space.

Place Of Recurring Nightmare

Isn’t it more horrible when an atrocity happens in a public place and no one can do anything about it? Especially for the victim, it creates a sense of false hope, ” Look over here, someone’s trying to kill me! Can’t you see!” The dream our protagonist has says it all, a public execution in a square in Saudi Arabia. A guy is kneeling, the executioner jabs him in the neck with a stiletto, he jerks his head up and the killer chops his head off with a sword. This takes place in a large courtyard or plaza, a very public place. In a way this is the quintessential image of horror, of nightmare. A person being killed in cold blood out in the open for all the world to see and no one’s doing anything about it. They sit and watch complacently.( The image of the execution reminds me of a scene in Alain Resnais Last Year At Marienbad, another film with an interesting use of space).

Marienbad Psychological Space

Taking his cue from this nightmare image Argento then stages some of the murders in a way that takes advantage of our perceived sense of place. The set up for the whole film is a man intruding on our hero’s personal space. Roberto,(Michael Brandon) a rock drummer sees a guy always looking at him wherever he goes.

Roberto, he looks more like a guitar player than a drummer to me

He gets fed up and chases the guy into a theater or opera house. It’s empty, a public place turned into the setting for a nightmare.

Roberto accidentally kills his stalker and is photographed in the act by someone wearing a clown mask.

Soon he is being threatened by the mysterious photographer. Later a woman calls the killer and demands blackmail, I have to comment on the genius sequence that follows her voice over the phone lines, underground, through a switching station to the killer’s apartment,super cool,

Following the voice over the wires

the blackmailer arranges to meet the killer in a park. There are lots of children playing, lovers in the bushes, music is piped in. A very safe public place. But as it gets later and later and the killer doesn’t show, the woman daydreams, smoking a cigarette. Suddenly she notices the music has stopped, the children are gone, the lovers have left. Argento accomplishes this in a beautiful way, jump cutting from a wide shot of the children to the same wide shot without them, ditto the lovers in the bushes. Brilliant!

One second they’re there

The Next They’re Not
Then our hapless blackmailer hears the scrape of the gate as the watchman locks it, the sun is setting, she’s now trapped in a nightmarish maze of bushes and walls with a psychotic killer hunting her.

The Innocent Park has Nightmarishly Transformed into a Labyrinth of Death

Argento has captured the logic of the nightmare perfectly, but for me it is his understanding and manipulation of “place” that makes it so powerful.

Famous Argento Use of Color

Later in the film a gay private detective tracks the killer on the subway, a crowded public place, the killer gets off and the private dick follows.

Subway to Hades

Once again the public space transforms to a nightmarish claustrophobic death cube ( a public restroom). Another killing is a classic, a young girl hears the killer enter her apartment, she sneaks out of her bedroom and into a hallway, there she stands at the foot of a stairway. The stairway is psychologically a scary place, I believe it comes from our childhood when it was physically dangerous to us, also you can’t see what’s at the top of the stairs, Hitchcock took advantage of this phenomenon in Psycho.

Stairway to Heaven, I mean Doom

Then the young girl goes up the steps and hides in a wardrobe, like a closet. Another nightmare place from childhood, the child hiding from the punishing or abusing parent. This was also used very effectively by David Lynch in Blue Velvet.

Childhood Trauma

Ther is another cool sequence where the police use the dead girl’s retina and a laser beam to record the last image seen by the victim, this idea has been used in other films but I think this was the first time it appears,

this movie is extremely rich in creativity and for me Four Flies On Grey Velvet is the best use of the manipulation of our perception of place in Cinema. Bravo Dario Argento!

Hats Off To Argento!

Hard to find but worth it! A historical drama based on a true story about a beautiful young girl (Beatrice)

Francesco vs. Beatrice

her tyrannical father and a loyal servant that loves her, of course with all the usual Fulci fetishes, eye-trauma, torture, rape, etc.

Fulci signature Eye Trauma! That’ll teach him!

It’s told in a sort of time jumping flashback style from multiple points of view, a riff on Yojimbo but not the same technique. Great production value, medieval Italia, Roma, villas in the campagnia.

Cool Optical, Matte shot using Castel Sant Angelo

Soldiers, cardinals, Inquisitors, there’s even a papal investigator who is a Medieval Columbo!

The Pope’s Colombo! Official Investigator Of The Vatican

A dysfunctional family headed by a father who is a total sadist prick. He has one guy torn apart by dogs, throws a party when two of his sons are killed in Salamanca ( he’s notoriously cheap and rejoices he dosen’t have to foot the bill for his sons crusading any more), imprisons his daughter in a filthy dungeon, abuses her and everyone around him.

Tomas Milian as loyal servant Olympio

Olympio loves Beatrice

Tomas Milian plays Olympio the servant, he becomes Beatrice’s lover and helps her off her old man.

The Torture Of Olympio

The best scene in the movie is when Milian, who has been graphically tortured in horrible ways and has confessed implicating Beatrice, is brought before her to confront her. The Inquisitors expect him to contradict her and say she’s guilty, he looks at her from the floor, his body torn up, shattered, a mess. He apologizes to her and says she’s innocent!

When confronted with His Lady he recants his confession

The Inquisitors are pissed! They drag him off to torture some more and while breaking his bones on the Wheel, he dies. There is also a wild boar of a man called Il Catalano. He is a hired killer brought in to finish off Francesco Cenci( George Wilson). We first meet him in a cave where he lives, he’s passed out with two naked prostitutes.

Catalano, The Human Wild Boar

This guy is great, there’s no one like him in Cinema today! Ignazio Spalla! Check him out! Super cool casting by Fulci in giving this cat the part.

Boar Hunt

Everyone cracks under torture except the beautiful Beatrice, they wrap a rope arond her head and tighten it until her head almost explodes but she doesn’t crack. She’s the toughest one in the movie, maybe from putting up with that asshole of a father for all those years. She tells the court how he raped and abused her and her lawyers shout it at the trial for the whole world to hear.

Royal Rapist Rat

The people of Rome want her set free! She gets a groundswell of support which pisses off the Pope, a dude with a hugh, hairy mole on his puss.

Pederast Cardinal with his Holy Boy Toy

The papcy covets Cenci’s land and fortune, what better way than to off his family and claim it all for the Church! I heard tell that when this movie came out in Italy people in the theater were yelling for the director to be killed! Fulci pissed off the Christian Democrats with this anti-Church tale of greed, torture and murder. It does bring to mind the Salem witch trial where women were offed so greedy townspeople could glom their real estate! It also bears comparison with another cool movie, Michael Reeves Witchfinder General. Check it out if you can track down a copy, you won’t be sorry.

This is a killer clip of an orchestra in Italy playing the theme from Italia A Mano Armata (A Special Cop In Action, USA) an incredible piece of music by Franco Micalizzi. I have a story about this particular tune. I was working as an editor on Kill Bill. One day Quentin tells me that two great Poliziotto’s are playing at The American Cinematheque that night. So we go and see them, they were great. Italia A Mano Armata and Roma A Mano Armata. Cut to a few months ago. I’m working on Death Proof, QT cuts in a piece of music in the big car chase, it’s Italia A Mano Armata! He tells me he’s been wanting to use that music ever since we saw the films at The Cinematheque during Kill Bill! Enjoy! Have a glass of Nebbiolo!