Body Puzzle (1992) Blu-ray Review

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Lamberto Bava was the son of Mario Bava. Mario Bava was one of the great Italian directors of the 1960s and 1970s. A former cinematographer, Mario Bava’s films are gorgeous, often filled with bright, bold colors and fantastic camera placements. Lamberto wasn’t nearly as good, but he still made some fun films.

Body Puzzle isn’t great, but it has a great idea. A serial killer is collecting various parts of his victims to create…well, I won’t spoil anything, but it’s a fun concept that’s a little clunky in its execution. You can read my full review at Cinema Sentries.

The Friday Night Horror Movie: Baron Blood (1972)

baron blood

Apologies for getting this out late. My daughter had a sleepover last night, and I decided to stay up late watching a French adaptation of an Agatha Christie story with my wife rather than write this. I think you will understand.

Baron Blood was directed by the great Italian genre director Mario Bava. It was made late in his career (he’d only direct three more films before his death) when he was having trouble getting financing for any film. Beloved as he is now, Bava’s films rarely made much money when they were released.

As such, the film has plenty of style and looks amazing, but falls fairly flat in the storytelling department.

Peter Kleist (Antonio Cantafora), an American university student, comes to Austria to visit his ancestral castle. While there, he learns that his Great-Grandfather was a notorious sadist who tortured and killed hundreds of villagers, earning him the nickname Baron Blood. Legend says that the Baron burned a witch at the stake, but before she died, she cursed him with a spell that would allow him to rise again from the grave only to be eternally tortured by her.

Naturally, our hero, along with his friend Eva Arnold (Elke Sommer) enacts the curse and raises the baron from the grave.

But first, Joseph Cotton.

Although he is top billed, the legendary actor doesn’t appear until at least half an hour into this 90-minute film. He plays Alfred Becker, an eccentric millionaire who buys the castle at auction.

Actually, no, my timeline is off. Peter and Eve do use an incantation to raise the Baron from the grave before Becker shows up. They do it at midnight, but the clock strikes 2 ( the exact time when the Baron was murdered), and blood runs under the door, but they don’t actually see the Baron. Before they can read the recantation, a wind knocks the scroll into a fire, and it is lost.

Although they do not know it, the Baron has risen, and he kills the previous owner of the castle, hence the auction, hence the showing up of Alfred Becker.

He kills a few more people, and our heroes try to find a way to lift the curse. Etc. The plot follows a pretty standard path from there.

Cotton feels out of place here, like he’s not quite sure what he’s doing in this film. He was in his late 60s at the time, making a string of low-budget horror movies, which I can only assume was a low point in his career. Sommer seems to be the only one having any real fun, and she’s a delight.

What makes it worth watching is the setting and Bava’s usual fantastic use of color, light, and shadow. Shot on the grounds of a real castle, he makes great use of the gothic setting, complete with a tower, torture chamber, and lots of enormous chambers that give the director plenty of interesting angles to shoot from.

It is far from Bava’s best work, but even average films from him are well worth watching.

Caliber 9 (1972) Blu-ray Review

caliber 9 bluray

I’ve got a terrible sinus headache, and I’m utterly exhausted from work, but I’m dedicated to fulfilling my goal this week of posting multiple things per day. Luckily, I still have a backlog of things I’ve reviewed for Cinema Sentries and not posted here.

And here we go.

Caliber 9 is a terrific Italian Poliziotteschi that blends plenty of action with a hard-hitting political message. It’s from director Fernando Di Leo and he never lets you down. It also has Barbara Bouchet and if you know her you know it is worth watching.

You can read my full review over at Cinema Sentries.

Dario Argento’s Deep Cuts Blu-ray Reivew

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I’ve talked about Dario Argento, the Italian horror director, many times on this site. He’s one of my favorite horror directors, and certainly my favorite director of Gialli. For a time, during the 1970s and 1980s, he styled himself as something of an Alfred Hitchcock figure – a persona bigger than the movies he made. He produced and hosted several different television series for Italian TV and Severin Films has boxed them all together in this nice little set.

You can read my full review of everything inside over at Cinema Sentries.

Westerns in March: A Reason To Live, A Reason To Die (1972)

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This movie is basically a Western version of The Dirty Dozen with James Coburn playing disgraced Col. Pembroke who surrendered Fort Holman to the Confederate Army without a single shot being fired. We’ll eventually find out why, but as the film begins he’s disgraced and considered a coward.

After he breaks out of Fort Holman, where he is being held as a prisoner of war, he makes his way to another Union Fort and makes a deal with its commander. He’ll take a handful of men and retake the fort, reclaiming his good name. The commander figures if Pembroke actually accomplishes this then he’ll get a promotion and if he doesn’t then good riddance. For his team, Pembroke rescues a group of deserters and cutthroats about to be hanged. This includes Eli (Bud Spencer) who he already knows.

As soon as the men are on their way they begin to grumble and plot to ditch Pembroke and regain their freedom. Pembroke has his own reasons for going back (and it isn’t just to clear his name) but he tells the men there is hidden gold and if they succeed then they will all be rich in Mexico.

The Fort is considered impenatrable (which is all the more reason Pembroke is considered a coward for having surrendered so easily) but naturally our heroes find a way in. Telly Savalas plays the new commander. There is a big battle with lots of explosions. Some of our heroes die, but only the ones you don’t really care for.

It is pretty paint-by-numbers and it really does borrow a lot from The Dirty Dozen. The action is well done and it moves along rather quickly. Coburn is good as is Bud Spencer (whom I only know from that Robert Altman take on Popeye). Savalas sometimes attempts a Southern accent, but mostly feels like he’s playing in some other movie. I read somewhere that he wanted to portray the character as gay (which was still a big no-no in 1972) which may account for his odd mannerisms.

All in all it is a decent film, worth watching if you like westerns or Coburn, but still a bit of an oddity.

Bring Out the Perverts: The Girl Who Knew Too Much (1963)

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The general consensus is that Mario Bava’s 1963 film The Girl Who Knew Too Much (also known as The Evil Eye) was the very first Giallo. This is strange because it doesn’t actually seem like a Giallo at all.

It was filmed in black and white and Gialli is known for its bold use of color. The killer is neither black-masked nor black-gloved. There is little to no gore and the killer’s motivations don’t stem from some psycho-sexual need. The camera does linger on the main actress’s bikini-clad body in one scene. In another, she’s wearing a short nighty and the photograph of an old man (played by Bava himself) ogles her. But it has none of the sleaze later Gilli would contain.

It is a murder mystery and Bava does deploy some imaginative camera setups and interesting visuals, but it seems more like an inventive thriller than anything you’d dub a Giallo.

Truth be told I don’t know where that idea that it is the first Giallo comes from. Wikipedia says it’s true so maybe it is, but most of the other online articles I’ve read both note that it is the first Giallo and then in the same breath note that it doesn’t really feel like one. So who knows.

To make all this even more strange is the fact that Bava directed Blood and Black Lace just one year later and it has all the hallmarks of a Giallo.

Whether or not The Girl Who Knew Too Much deserves that Giallo recognition or not it is a fine film and deserves to be seen.

Letícia Román stars as Nora, an American tourist visiting her aunt in Rome. The aunt is very sick and dies that first night. When Nora leaves to find help she is immediately attacked by a robber. When she awakes she sees a woman run out of a house with a knife sticking out of her back. A man approaches the corpse and grabs the knife. She then faints. When she wakes up the street is clean and no one will believe her story.

Later she’ll read some old newspaper clippings about a woman who was murdered in the exact spot ten years prior. And then there were other murders, meaning a serial killer might be on the loose.

She’s aided by Dr. Marcello Bassi (John Saxon) who both believes her story and rather fancies her. They will investigate. I suppose that is another way in which this film meets the Giallo standard – non-police investigating the crime.

They’ll run into lots of interesting people and there will be a few more corpses. It is all pretty standard murder mystery stuff. But Bava infuses it with some remarkable images. It doesn’t hurt that it is set in Rome and Bava apparently had free reign of many of its incredible landmarks. Norah winds up staying in a house located right on the Spanish Steps and the film makes great use of that location.

I don’t know that I would really consider it a Giallo but it is an interesting starting point for the genre, call it proto-Giallo. Or don’t, but I recommend it anyway because it is well worth watching whatever genre you want to put it in.

The Friday Night Horror Movie: All the Colors of the Dark (1972)

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A while back I started a little feature I called Bring Out the Perverts: Giallo on the Criterion Channel. That streaming service featured 13 Italian genre films and that seemed like a fun thing to review. I like the idea of having a pre-selected set of films to watch and review. I thought I’d do a bunch of them.

When I say “a while back” I mean I started this feature last September. Four months have gone by and I still haven’t finished watching 13 films. I did well through October, but the Noirvember happened and I completely forgot about this idea.

This is the second to last one and hopefully, I’ll finish it out soon after that. I still like the idea, and I’ve got some things brewing in a similar vein for this coming year. So consider this a Friday Night Horror Movie and a Bring Out the Perverts.

All the Colors of the Dark is a mixture of classic Giallo with some early 1970s psychedelia with a touch of satanism thrown in for good measure.

Edwige Fenech stars as Jane Harrison a woman whose recent car accident caused her to miscarry and lose her baby. This has sent her spiraling into mental breakdown. She begins losing her grip on reality, unable to tell her dream world full of nightmarish images and a man with a knife out to kill her, and real life.

She’s seeing a psychiatrist, but her boyfriend Richard (George Hilton) is against it. But he’s mostly annoyed that every time they start to have sex she starts envisioning that dude with the knife and has a panic attack. We’ll skip the analysis about knives and sex, stabbings, and penetration for now.

She meets a friend who suggests attending a Black Mass. There she is, well I don’t want to say raped because that feels slightly too strong a word so let’s just say strongly persuaded to drink the blood of a sacrificed dog and then engage in a lot of sex. Afterward, she’s totally into sexing up her boyfriend again. I wouldn’t touch that analysis with a ten-foot pole.

That dude with the knife keeps showing up in odd places stalking her. Sometimes she envisions him attacking her but every time that seems to just be a hallucination. At another Black Mass, she might have been forced to kill her friend who introduced her to it. Or maybe that was just a dream too. The lines between reality and hallucination become quite blurred.

It all wraps up a little too neatly for my tastes with all the solutions coming fast and clean.

Fenech is quite good. She’s the Scream Queen of Gialli and while I’m a fan, I’d never call it a fantastic actress. But she does well as this damaged woman in distress.

Director Sergio Martino leans heavily into the psychedelia of the era. He does that thing that was common at this time where the images turn into a kaleidoscope. He uses a lot of quick cuts, and he’ll repeat images over and over. I find it all very dated and rather annoying.

When he’s not giving you a visual trip he does create some rather striking images.

I’ve never been a fan of this type of psychedelic cinema and I find it especially obnoxious in horror. Looking at my Letterboxd friend list most of them seem to really like this one. So your mileage may vary.

Bring Out the Perverts: Strip Nude For Your Killer (1975)

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Horror films have always been at least a little transgressive and salacious. They are trying to evoke strong emotions after all. Starting in the 1960s and moving strongly in the 1970s and 1980s they began to rely heavily on sex and violence. Horror tends to be watched by younger people and younger people buy tickets when that’s what you’re selling.

Giallo always trodded on those tropes. This makes sense since Giallo is at heart a genre about violence against women. The best films in the genre examine those tropes, they ponder the male gaze (while often at the same time offering up examples of it) and probe the links between sex and violence. The worst ones simply give the audience plenty of naked flesh and blood-letting without much thought behind it beyond making a few dollars.

Strip Nude For Your Killer is one of the sleaziest horror films I’ve ever seen. Hardly a scene goes by without someone (usually any number of beautiful women) taking off their clothes. Actually, it is always the women. This is a film that has no problem showing full-frontal nudity from a woman but always pans up just as the men are taking off their pants.

It begins with a woman lying naked on her back, her feet in stirrups. She’s getting a back-alley abortion. The doctor’s head is strategically placed so that we can see pubic hair, but not her actual genitals. That’s about as sophisticated as the film gets.

I won’t get too far into the plot, as you can read more about that in my review of the Blu-ray over at Cinema Sentries. There isn’t much plot to be found if I’m being honest. It is basically someone killing a bunch of people connected to a modeling agency.

The kills aren’t particularly interesting, and the filmmaking is rather plain. There is a groovy soundtrack and the killer does wear a pretty rad-looking leather biker suit (someday I’m gonna make a list of all the films that have a killer wearing a similar suit – there are a lot of them, and they always seem to keep their helmets on!)

It also stars Edwige Fenech and I’ll never complain about that. However, she’s not given much to do (other than strip off her clothes at every opportunity) even as she is the main character and the one who is investigating the murders.

It isn’t a terrible film, it just isn’t particularly exciting which is quite a thing to say considering how much nudity and murder it has in it.

Goodbye & Amen (1977)

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When I was a teenager and first beginning to truly love movies I sent off for a movie catalog. I saw an ad in the back of Rolling Stone or Spin or some such thing and I wanted to see what type of films were available outside of my little small town. What I got was a Xeroxed copy of a copy of a copy of some typed-out list of films. I think there were occasionally pictures and there were definitely some synopses of the films.

I didn’t buy any of the movies, or rent them, but I was endlessly fascinated by that catalog. Here were all sorts of films, hundreds of them, that I’d never heard of. I think they were mostly cult films, foreign films, low-budget B-movies, the type of films that I now love, but it opened up this idea that there was a cinematic world out there, just out of reach that maybe someday I could explore.

I mention this because I think of young cinephiles now. How literally nearly every film ever made is available to them if they know how to look. How sites like IMDB and Letterboxed and countless others give them information and recommendations for all sorts of films in every genre imaginable. What an amazing time it must be for them. I mean it is an amazing time for me, but I can’t imagine how awesome it must be for kids just now discovering movies.

I am, of course, a huge proponent of physical media. While I certainly stream my fair share of movies, nothing quite beats sliding in a disc and pressing Play. One of the things I love about all these boutique Blu-ray companies is that they regularly supply me with great films I never knew existed.

Goodbye & Amen is one such film. It is an Italian thriller about a C.I.A. agent living in Rome with plans to start a coup in some African country. But his plans are thwarted when one of his agents starts shooting random people and holds a couple of people hostage in a hotel room.

It is well-shot, and directed, and is an utterly enjoyable watch. You can read my full review over at Cinema Sentries.

The Friday Night Horror Movie: The Girl In Room 2A (1974)

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I watched The Girl in Room 2A via my Forgotten Gialli Blu-ray collection from Severin Films. “Forgotten” makes them sound like some overlooked classics or some incredible bits of cinema that were lost to time. But in reality, they were forgotten for a reason. That reason being they are mostly rubbish.

That’s not entirely fair to The Girl in Room 2A. It isn’t complete rubbish, it has a few moments that make it sort-of interesting. Or at least worth a watch if you are digging into the deep well of Giallo.

It starts out with a bang. A woman is kidnapped as she leaves a building. She’s grabbed, tossed into the back of a car, and taken to some dungeon. There she is stripped and punctured with these spikey metal rods. Then she’s driven to a cliff and dumped overboard. And all of that occurs during the opening credits.

Then we meet our heroine Margaret Bradley (Daniela Giordano). She’s just been released from prison and she sets herself up in the titular Room 2A in a sort-of halfway house.

The owner of the house is nice, but a bit nosey. The room is comfortable but there is a strange red spot on the floor. She’ll clean it up, but later it will reappear. At night she hears strange noises and she keeps having strange dreams about queer-looking people dressed in red robes doing…things to her.

I quite liked this part of the film. I love a good haunted house mystery. But then the film decides to show us what’s going on. In detail. They don’t just let us see the killers but it explains who they are and what their purpose is. In detail. I won’t bother with it, but all the explanations bog the film down. The mystery is lost and it becomes rather dull.

There is also a love interest which is dull in its own way, but at least that makes sense. I can accept a love interest in this sort of film, but there is no reason to spend so much time with the death cult explaining their motivations.

There is a final action sequence that’s pretty great, but it isn’t enough to make the film interesting.