Restored version
of the giallo film begins when the brutally violated body of a young woman is dragged from the river.
After the release of The Editor on Blu - ray last year and with the remake of Susperia in the works, it would seem that there is a slow revival
of the Giallo film.
Not exact matches
Written and directed by Michele Soavi
of Cemetery Man (1994) and The Church (1989) fame, this documentary from 1985 takes an in - depth look at Dario Argento, the master Italian director most well known for his «
giallo» horror
films.
At around 2 am (sorry, I didn't keep track
of the time for this one like I usually do), we got our first break from his traditional
giallo with Suspiria, a
film that serves up the elaborate death scenes (and Goblin score!)
The new audio commentary by Troy Howarth, author
of So Deadly, So Perverse: 50 Years
of Italian
Giallo Films, serves as an efficient one - stop shop for fans looking to brush up on the history
of the
film's genesis.
As you know, she's the offspring
of giallo master Dario Argento and actress Daria Nicolodi, and this
film seems to be a look into a world
of fame and celebrity through a child's eyes, with Charlotte Gainsbourg and Gabriel Garko as the parental figures.
The two genres have a history
of interchange, be it the influence
of classic Westerns on the
films of John Carpenter (who even penned two obscure Westerns, El Diablo and Blood River) and George A. Romero or the parallel development
of the
giallo and the spaghetti Western in Italy.
It's the stuff
of nightmares - two specifically: the
giallo within the
film, with its witchcraft and butchery; and Gilderoy's personal cultural nightmare, a nightmare
of intimidation and embarrassment, the ordeal
of a painfully innocent Brit thousands
of miles outside
of his comfort zone, working in a small space with hostile, emotionally volatile strangers.
Details The Texas Theatre presents a 35 mm print
of Dario Argento's cult classic
giallo film Deep Red (1975), 8 pm, June 30, at the theater.
Borrowing from Takashi Miike's Audition (seminal J Horror
film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore
film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora
of influential filmmakers including De Palma and the
Giallo set.
A painter and cinematographer turned director, a craftsman turned celluloid dreamer, an industry veteran who created, almost single - handedly, the uniquely Italian genre
of baroque horror known as «
giallo,» he directed the most graceful and deliriously mad horror
films of the 1960s and early 1970s.
The Bird With the Crystal Plumage Blu - ray (1970 — Italy) In 1970, young first - time director Dario Argento made his indelible mark on Italian cinema with «The Bird with the Crystal Plumage,» a
film that redefined the «
giallo» genre
of murder - mystery thrillers and catapulted him to international stardom.
She is currently working on books including 1000 Women in Horror, a book on art and intertextuality in
giallo cinema, and co-editing a collection about the
film work
of Elaine May for Edinburgh University Press's ReFocus series.
On the heels
of Suspiria and Inferno, Argento released one such gem, Tenebrae (or Tenebre, if you prefer) in 1982, an Italian
Giallo film that most consider to be one
of his best.
The first is the
giallo,
films indicated by their impossibly convoluted mystery plots and elaborate set - piece murders; the second,
of which Suspiria is one, is the «supernatural,» distinguished by their surreality and lack
of a traditional narrative.
The fourth segment covers seven sub-genres
of cult cinema: the
Giallo, spaghetti westerns, canuxploitation, pornochanchada, Christmas horror
films, Food horror, and empty sci - fi.
Though the genre's invention (named after the yellow /
giallo covers
of Italian penny dreadfuls) is credited to compatriot Mario Bava (see, especially, his astonishing Blood and Black Lace), Argento's scary polish and cunning for
film language bridged the cultural, mainstream / arthouse gap with agility and audacity.
Fourteen years removed from his last good movie (Opera), his latest
film Sleepless (a.k.a. Non ho sonno), starring the inimitable Max Von Sydow and heralded as a return to Argento's roots in the
giallo genre, hits North American shores months after bootleg copies
of it have already circulated amongst the ranks
of disappointed fanboys.
Today marks the birthday
of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «
giallo» horror genre (although he created works ranging from spaghetti westerns to science fiction
films as well).
New to this edition and featured on both Blu - ray and DVD editions is commentary by
film historian and Mario Bava biographer Tim Lucas and the almost hour - long «Psycho Analysis,» an in - depth documentary on Blood and Black Lace and the origins
of the
giallo genre featuring interviews with directors Dario Argento and Lamberto Bava and screenwriter Ernesto Gastaldi among others.
Keaton, the grand - niece
of silent
film icon Buster Keaton, had previously appeared in six «
giallo» Italian horror movies.
In the vein
of Giallo style filmmaking, the
film...
During the»90s horror boom, we also began to look outside the U.S. even beyond the
Giallo films of Italy and Hammer
films of the U.K. J - Horror and K - Horror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering Corridors.
If you're a
giallo newbie and you're looking for a starting point into the world
of wildly violent Italian horror
films, seek out Dario Argento's disconcertingly beautiful Suspiria.
Giallo - like in its plot convolutions as well as its stark, shadowy visual style, this rare foray into strict horror by dark crime thriller master J. Lee Thompson is perhaps best known for its infamous shish - kebab murder scene, but the underappreciated slasher
film has much more to offer, with a whole slew
of show - stopping death set pieces and a stellar supporting cast, including Glenn Ford as Virginia's doctor.
The UK's Shameless Films seem to have a particular fondness for the torture and torment
of Italian
film siren Edwige Fenech at the hands
of giallo legend Sergio Martino; but then again, I can't really blame them.
Peter Strickland's ode to classic
giallo film, Berberian Sound Studio hits screens
of all shapes and sizes in the US on June 14th when IFC Midnight releases the
film in select cinemas, on iTunes and VOD June 14th.
Director Peter Strickland turned heads amongst cult
film circles with his Berberian Sound Studio, a lushly realized tip
of the hat to the classic
giallo styles
of the 1970s that honored the past while also working in Strickland's own unique...
As much as the 1946 adaptation
of The Postman Always Rings Twice has earned its place as an important American Film Noir, so too Ossessione is essential to Italy's history
of lurid, intoxicating
giallo cinema.16 Ossessione provides a perfect bookend to Calamai's final performance as Marta in Dario Argento's Profondo Rosso (1975): in both
films Calamai embodies a similar bug - eyed feminine insanity, both characters pushed to the edge
of violence and despair at their seeming invisibility to the men in their lives, and to society in general.
Released under the misleading title and ad campaign as The Evil Eye to stress the
film's quasi-supernatural element, Mario Bava's last black & white
film, La ragazza che sapeva troppo / The Girl Who Knew Too Much, is a really a weird hybrid
of black comedy, Agatha Christie mystery, and prenatal
giallo (some
of it co-written by future Mondo Cane co-director, Franco Prosperi).
As seemed to be the convention for Italian thrillers for the next twenty years, Bava had an American actor playing the love interest who may or may not be involved in a crime that veers, at the
film's precise midpoint, towards a series
of implausible, ridiculous twists endemic
of a standard
giallo.
A horror movie in the
giallo tradition, The Neon Demon is equal parts art
film and B - movie schlock, with the dreamlike underpinnings
of a fairytale.
Argento might be the father
of giallo cinema, but it's Bava who laid the ground work with his 1963
film The Girl Who Knew Too Much and 1964's Blood and Black Lace, traces
of which can even be found in Nicolas Winding Refn's The Neon Demon.
Deepening and amplifying their super-fetishistic remix
of Italian
giallo and horror tropes in Amer (ND / NF 2010), Helene Cattet and Bruno Forzani here create a delirious and increasingly baroque pastiche
of the trance
film and cinema fantastique — and then push it to breaking point.
Meanwhile, Michael Coate has just posted a new History, Legacy & Showmanship column, featuring an interview with filmmaker Vincent Pereira on the subject
of Dario Argento's classic
giallo film Suspiria, which celebrated its 40th anniversary last year.
Bava made dozens
of films in the sixties and seventies as a director, writer and cinematographer, helping to launch the «
giallo» genre
of Italian cinema and re-inventing the slasher
film.
Borrowing formal and atmospheric motifs from 1970s
giallo films by directors such as Mario Bava and Dario Argento, Walk - Through re-imagines CalArts as a site
of potential intrigue, subtly calling into question the artistic and democratic tenets embedded in the school's founding ideology.