Cleansing the doors of cinematic perception since 2006, or earlater

Tuesday, May 10, 2011

Gialli Capsule reviews: IN THE FOLDS OF THE FLESH, ALL THE COLORS OF THE DARK, THE CAT O'NINE TAILS, THE FIFTH CORD, BLOOD AND BLACK LACE

IN THE FOLDS OF THE FLESH
1970 - Dir. Sergio Bergonzelli
***

While its lighting is a little flat, this film's got ballsy twists, and the ability to go deep into sordidness without getting depressingly graphic (the severed heads are numerous but humorous). Even though you've got no clue who's who 'til the final denouement it's worth being confused for a finale that's like having eight Brian De Palma Hitchcock climax wigs coming off at the same time. Plus there's mod clothes and Ultramannish paint swirl credits. Jesus Villa Rojo did the score, which prefigures SILENCE OF THE LAMBS in places, and as long as the lurid topless Auschwitz flashback doesn't get your PC braids in a knot--and you dig mixing metaphors like you're a student at Freud's psychosexual taboo bartending school after a night of trying to study for finals during your roommate's orgy--you'll love IN THE FOLDS, for THE FLESH is not weak!

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ALL THE COLORS OF THE DARK
(1972) Dir. Sergio Martino
***

Jane (Edwige Fenech) is having weird nightmares ever since the accident that killed her unborn child. Is Richard (George Hilton) gaslighting her or just a typically sexist Italian male? Who is Richard and why is he dissolving blue pills in her water and refusing to let her see a shrink? Is that strange-looking man (Ivan Rassimov) stalking her or is he a hallucination? Maybe he's the shrink. Her sexy sister Barbara (Nieves Navarro) brings Jane to get psychiatric help while her sexy neighbor (Marina Malfatti) thinks she just needs to attend a Satanic ritual led by a Robert Downey Jr-esque hippy with long gold fingernails. There, Jane drinks the blood of a puppy from a golden chalice and makes out with the whole pasty-faced coven, and maybe more but before we can find out their lips dissolve into goddamned Richard again--she's cured! But there's all sorts of obligations "Now you are one of us, Jane," Rassimov says "It's impossible to renounce us." Yeah, but if they made her crazy in the first place, what good did they really do?

Credit Martino's ingenious direction that we understand completely Jane's confused mindset, that we understand the sort of queasy dread that can only be come from being stabbed by a hallucination. Is that how death is, your killer just goes from being real to imagined and you just never come back to reality again? Is death just snapping out of a schizophrenic break or snapping forever into one? A lot of filmmakers get the diabolical nature of dreams and hallucinations all wrong, not Martino! And while the 'is there or is there not a guy trying to kill you' makes the film similar to another Italian flick which is almost a near giallo in itself, THE ROMAN SPRING OF MRS. STONE (my review here), as well as Polanski's REPULSION, maybe there's just a lot of phantom killer pretty boy gigolos skulking around London and Rome, or there were in that golden time before, you know, AIDS. Nothing makes danger limp like a condom. Even Satanic mind control sex cults aren't immune! Or did they cause it in the first place? It's impossible to renounce us, Jane!



I'm not smitten or anything, but I respect that Fenech is a sultry icon in some blog circles, I like that she's a large, voluptuous Italian love doll of a thing, limbs all flayed about the room like they're barely connected to her well-fucked body, and she does have nice boots, which look good running amidst the fallen autumnal foliage of England where this film was shot. Ah, that's the first mistake, for the dreary skies and colorless Tudor architecture are a far cry from the chiaroscuro trimmings of Rome where most gialli are lensed. It's like drinking Jameson's instead of J&B --it might still get you drunk, but what's the point? Don't worry, it's J&B here and the black magic all goes down under a solid Bruno Nicolai's score, even if that singsong children's la-la-la business seems largely ripped from the stuff he did a couple years earlier with Ennio Morricone for BIRD WITH THE CRYSTAL PLUMAGE, though that itself was semi-stolen from Krzysztof Komeda in ROSEMARY'S BABY a couple years before that. But stealing is part of the culture in Roma! You must make sure your money belt is well-hidden when you visit. But this is England.

CAT O'NINE TAILS
(1971) Dir Dario Argento 
***

Argento purists often give CAT the air. Karl Malden and James Franciscus aren't Jessica Harper and David Hemmings, whose slender, elvin vulnerability and fairy tale moxy made their weird holidays (SUSPIRIA and DEEP RED respectively) in fucked-up continental Argento-ville extra terrifying; their big eyes, weak limbs, and little noses helped give them a helpless aura that burly Malden and Franciscus lacketh. Argento men need to be feminine and the women masculine to suit his melted-down gender aesthetic. His real-life scary-sexy wife Daria Nicolodi (Asia's mom) played Hemmings' love interest in DEEP RED and watching them together was like feeling chaffed, as if you'd skinned your knee and were terrified mom would put iodine on it, with that eerie masochistic lower spine tingle, like when you look down from a very tall structure without a railing. Malden is less iodine and more like oxidized bronze. Franciscus is Heston-painted lead. Neither could in a million years turn out to be women in disguise, and there is no place for overly confident macho gravitas in Argento (except as red herring eccentrics eating cats and visiting coffin conventions).

That said, blind puzzlemaker Malden has a hip little seeing-eye niece who calls him Cookie, a weird relationship reflected perversely in that between a possibly gender-disoriented and certainly automaton-esque suspect Fanciscus sleeps with (Catherine Spaak, below) and her older "father"  and the founder of a sinister genetics institute (the villainous eyebrows of Tino Carraro). Though that may sound Cronenbergian, with this whole thing about a 'criminal' extra chromosome, it's more De Palma. There's a clue in a locket, and if you can get around the cops not bothering to look in a murder victim's car, or towing it, then you can just dig that crazy Morricone mash-up: repeating little drum refrains, flute melodies that cycle around on repeat and sing-song high voices that seem to drift around over thudding bass lines like a cloud of smoke. And the dubbing is excellent


While it's minor Argento, CAT holds up well over repeat viewings. It's got a good spritely rhythm and a killer nicely poised on the cusp between sociopath and methodical evidence-coverer, with all sorts of ingenious clues planted for later recovery, with the killer as omnipresent as that funky minimalist Morricone two-note bass line, violently plucking evidence of his/her identity at the last moment (for example a deep cut on the hand would be a dead give away when visiting the suspects, except that we hear a vase break off camera right before the bleeding suspect comes down the stairs).

Note should be made of gay bar scene, overwrought with the kind of CRUISIN'-style masochistic self-loathing filmmakers presumed--as they explored the milieu for the sake of tawdry atmosphere, and the further blurring of possible suspects' gender identity--was part of the gay lifestyle rather than a sad reflection of the intolerant times. Coming out as openly gay in these films involves the kind of sordid overdoing it (such as they 'tickle palm' gay handshake) imagined as real today only by crazy old preachers and politicians.

Ironically, in today's generally more tolerant climate it's the homophobic Christian zealots that are painted in lurid broad strokes. Now it's the homosexual couple that are happily married with kids and a suburban house with a white picket fence, while the Christians fume in incestuous hypocrisy. Only a few filmmakers, like Howard Hawks, see the virtuous suburban nuclear family unit itself as the real enemy as far back as the 50s-60s (note the almost total lack of moms in Hawks movies). In Argento, if they are there, it's to hold murderous sway over gay, transgender or deformed sons, not unlike MOST of Hitchcock).

I mention Hawks for a reason: aside from the usual Hitchcock references (poisoned glass of milk POV) there's at least two Hawksian motifs in TAILS, there's some dialogue that recalls THE BIG SLEEP (which also had a gay couple of young turk and older sugar daddy) and a telltale blood drip ala RIO BRAVO. But those things are just parenthetical. What counts is that the percussive super-funky Ennio Morricone score is so thumping and rattly that you're bound to get a terrified frisson sooner or later and, if not, there's the idea of being a blind graverobber led through a creepy nighttime cemetery (with the requisite 'locked in the mausoleum), puzzles and clue trails zipping by with almost no dead air and plenty of nice widescreen wallpaper; the white and magenta color schemes in that Carror's mansion are as sickening to the base of the spine as the aforementioned iodine. All along the way, there's nary a lull even if there's nary a wow.
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Franco Nero hunts for clues
THE FIFTH CORD
(1971) - Dir Luigi Bazzoni
***1/2

Sometimes there comes a film like THE FIFTH CORD that is so good it's impossible to follow until the third magical viewing. I only recall now that Franco Franco Nero smolders and drinks valiantly against the current of ennui and fatalistic Ennio Morricone music. He also exposes the vanity and childish narcissism of handsome Italian drunks who've been presuming their macho charm still melts any woman's resolve, but they too have grown old and wise to his tricks, and he's too in denial to notice, and so can't keep the swagger out of his shambling steps, no matter how badly they wobble. Though a mere crime reporter, he acts like he's the giallo version of BAD LIEUTENANT.


And while all the international architecture and light through Venetian blinds, the roving camera, crisp sets, scopophilic perversion red herring and good dubbing all elevate this to the top of the giallo food chain, there's also a sense of phoniness inside the souls of the characters that not only excuses phoniness in the film but resembles Antonioni-esque fatalism as much as it does Argento diabolism. Even when the crippled heiress is being terrified, crawling across the floor like a snake towards her distant wheelchair, she's framed beautifully by a  stone lion, spiral stairs disappearing down into the jet blackness, Morricone's organ fugue, dark yellow curtains billowing, and a gray cat. The Blue Underground DVD's blacks are so deep she seems like she's crawling out of the letterbox frame into the black bars. And there's a cool use of International style architecture's lines as both prison and protection: every scene is so layered in vertical and horizontal lines and reflections and contrasting vanishing points, psychedelic sexy silhouettes and circular corners, that you want to frame every frame as the coolest shot in all giallo (DP Vittorio Storaro went on to make Apocalypse Now). When, in the last reel, the lines suddenly aren't there the characters seem extra-vulnerable. The shutters slowly coming down... even a tomb feels secure by contrast to such pregnant blackness.


As a tall, handsome, debauched, erudite, charming, and delusional alcoholic, I recognize myself in Nero's self-deluding eyes, and while the way he slaps around young hoods in racing suits is commendable. He never carries a gun or uses any weapon but his lashing fists. Cops with goofball smiles, typing, lots of smoking, drinking and obscene pitch-shifted phone calls from the killer round out the package. As Michael Mackenzie at Home Cinema notes:
 "That The Fifth Cord (Giornata Nera per l'Ariete, which translates as "Black Day of the Ram") could pass for a film made by the maestro himself is high praise indeed, and it is to the credit of its director, the elusive Luigi Bazzoni, that the film so perfectly captures the mood of Argento's "Animal Trilogy" without ever coming across as a slavish copy."

BLOOD AND BLACK LACE
(1964) Dir Mario Bava 
***

The film that started it all: the black gloves, the mannequins, the terrified fashion plates, it's all here, and it's the one that should most be on Blu-ray! Oh please VCI, pleeease do a better job or pass it over to a better label. It's sooo pretty and rich with the titular textures and deep red gel lighting that the sleazy misogynist relish of lingering on screaming women's faces, necks, and bodies is almost forgivable. After all, it's not the women's or director Mario Bava's, but Roman Catholic culture's fault. Italy invented the Madonna/Whore complex.

Here's why I think this: the Catholic-Italian suffocating power of a mother's love and guilt trips make her son's sexual desires painfully ungratified while growing up, and meanwhile the moms of girls you love know all-a the tricks. They make sure you're not allowed to get within ten feet of their virginal charges unsupervised (as in Michael Corleone's experience in Italy). Even masturbation is a sin, and your mom makes it impossible to try, banging on the door if you lock it, as if sensing when-a you're doing wrong. The giallo is the result of the curdled venom of semen retentum finally lashing out with a phallic blade at those hydra-like red apron strings projected on the white blouse wall, and there's nothing wrong with that, if it's via artistic sublimation (pretending to kill women for a movie is much better than to kill them in real life, capito?) Now that we know it's wrong, and why, and why we'll never do it again, can we film it?


3 comments:

  1. Nice article ,thanks for the information.

    ReplyDelete
  2. Hey is that Steve Ditko's The Question ?

    ReplyDelete

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