When you're rich you're never insane. You're just a little eccentric.
La notte che Evelyn uscì dalla tomba, aka The Night Evelyn Came Out of the Grave, premiered in Italy today in 1971, and is an Italian made, set-in-England, gothic giallo flick for which we shared an unusual Greek poster some years ago. The art on that was retasked from the original poster, which was painted by Sandro Symeoni, a genius we've featured often. If you don't know his work, click his keywords below and have a look. He's worth your time.
In the movie a British lord violently obsessed with his deceased redheaded wife goes nuts and is committed to a mental institution. When he gets out he immediately brings disrepute to the entire psychiatric profession's notion of “cured” by going on a redhead killing spree. While he's busy reducing rural England's carrottop population one pale person at a time, his headshrinker, who knows nothing of the murders, is encouraging him to remarry in order to get over his dead wife.
That doesn't strike us as responsible psychiatric advice, but as we mentioned, there are lousy doctors in this film, so the Lord indeed picks out a suitable spouse, who's blonde, importantly. Things go fine until Mrs. Lord notices a redheaded maid in the manor. This is impossible, you see, because the Lord hates (and kills) redheads. So it goes without saying he'd never hire one. Who was this woman, and why was she there? Soon we're treated to the reliable giallo staples of imposters, unknown people creeping through the woods at night, disappearing corpses, and the question of whether what's happening is real, or is an attempt to induce insanity.
What might induce insanity for you is the screenwriting of the female characters in this flick. They're pure murder magnets. For example, whenever the Lord meets a redhead he yanks painfully on her hair to see if it's real. “Ouch! That hurt!” “Sorry, I thought it might be a wig.” “Oh.” Here's some advice: kick him in the gonads and run like Flo-Jo. Yet the women instead decide painful hair-pulling is just a cute quirk, and later meet their bloody ends.
There's also an incredible scene where the Lord slaps his wife around until she's bloody-mouthed, only to finally be stopped by the appearance of a friend, who asks, “Why were you fighting?” Why were you fighting? A more appropriate line might be, “Why were you beating the fuck out of your beloved?” But with this latter incident there may actually be a plotworthy reason the Lord is forgiven. We could reveal it, but that would be a spoiler. Of course, saying it would be a spoiler is a spoiler too. Oh no! Everything is spoiled! We have to murder a redhead now. Is that a non-sequitur? No, it's just giallo.
She's been doing as the Romans do pretty much from day one.
Italian actress Leticia Román walks across the tarmac at Fiumicino Airport in Rome today in 1962, where she had arrived to begin work on the film The Nightmare. That's what the back of the photo says, anyway. But Román never appeared in a film with that title. Since titles change mid-production occasionally, we're going to guess the film was actually the 1963 giallo La ragazza che sapeva troppo, aka Evil Eye. Furthermore, we checked the production data, and the movie has scenes at the airport, so it's possible but not certain that this isn't really a press photo but rather a production promo. In any case, nice shot.
Il dolce corpo di Deborah is pretty but inside it has issues.
Renato Casaro does solid work as always on this poster he painted to promote the Italian giallo flick Il dolce corpo di Deborah. We've featured him often, and you can see some of his best work here, here, and here. If you were translating the title Il dolce corpo di Deborah into English normally, it would be the linguistically economical “Deborah's Sweet Body,” but instead the distributors went literal with The Sweet Body of Deborah. Going with something clunkier than needed is a good metaphor for the film.
The story involves a newly married American woman played by Carroll Baker who honeymoons with her Italian husband in Geneva, where he runs into a former friend who accuses him of murder. The death in question was of the husband's ex-girlfriend. It was ruled suicide, but the acquaintance claims it was murder. He spends a lot of time and effort trying to convince Baker her husband is a killer, but is he telling the truth, or is there something even more sinister going on? That's a rhetorical question. This is giallo.
Normally we'd suggest watching the film to find out what happens, but we won't do that because this is a limp and disjointed thriller made watchable only thanks to good cinematography, interesting Geneva exteriors, and Baker pushing the envelope of allowable skin. Bad scripting and bad acting really hurt here, and the double twist ending feels perfunctory. We won't go so far as to say Body blows, but it could be plenty better. Il dolce corpo di Deborah premiered in Italy today in 1969.
A dirty picture is worth a thousand words.
As long as we're on Italy today we might as well highlight this Renato Casaro poster for the giallo flick Le foto proibite di una signora per bene, aka The Forbidden Photos of a Lady Above Suspicion. We've dubbed the pose you see here the alpha, for both its theme of dominance and the A shape made by the legs of the foreground figure. Typically the figure is male, but not always. We put together a collection of paperbacks using this pose while ago.
In the film a bored housewife played by Dagmar Lassander is convinced by a sadistic stranger that her husband is a killer. In her desperation to protect her spouse she's manipulated into the stranger's bed, which results in him having explicit photographs with which to blackmail her. When Dagmar finally tells her husband and the police what's happening the evidence disappears, which makes Dagmar look mentally unstable. This seems to have been the plan all along, but who's behind it? Is the stranger working alone? Is Dagmar's husband or best friend involved?
With its leisurely pace and unconvoluted plot, the film lacks some giallo characteristics, but it's officially considered part of the genre. Because of its relative simplicity it avoids serious logical missteps, which is a worthy achievement considering how wacky these movies get. But while it's sure handed and reasonably entertaining, you can expend ninety minutes of life in better ways, which is why we don't recommend this except for giallo completists. Le foto proibite di una signora per bene premiered in Italy today in 1970.
What's mostly style and virtually no logic? A typical giallo.
Giallo films occasionally take on taboo subject matter. In western cinema little is more taboo than child murder. Non si sevizia un paperino, aka Don't Torture a Duckling unabashedly uses this premise, as police in rural Italy try to solve the murder of a 12-year-old named Bruno. “The guy's obviously going to be a mental case,” one cop says. “The killer's a maniac,” says another. But cops are notoriously obtuse in these films. Was the killer really some nut job? Bruno was one of a trio of close friends who spent a lot of time together playing in the hills. When a second member of the group turns up dead it seems clear that the three boys saw something they shouldn't have and are now being targeted.
As usual in giallo there are extraneous moments littered throughout the plot. Why does creepy ass Florinda Bolkan play in the muck with three voodoo dolls that seem to represent the three boys? Why does a local farmer wander the woods during a late night thunderstorm chopping down foliage with a machete? Why does Barbara Bouchet lounge in her room nude under a sun lamp? Actually, we know the answer to that last question—the filmmakers had one of cinema's great beauties on their hands and weren't about to let the opportunity to show her pass. We couldn't let it pass either. See the promo images below.
Getting back to the positives, we enjoyed watching sex symbol Bolkan dirty herself up to play a mountain witch, loved Bouchet's assortment of ultra cool outfits and cars, and thought the filmmakers used the Basilicata countryside to good effect. But who did the killing? Was it Bolkan the witch? The big city drug addict? The handsome local priest? The mentally disabled man-boy? The priest's strange mother? Giallo mysteries are not usually written in such a way as to be solvable, so in truth it's hard to care. But even if Non si sevizia un paperino isn't an involving puzzle, it's great eye candy with a bizarrely graphic ending that must be seen to be believed. It premiered in Italy today in 1972.
You can't have him. He's the only reliable source of heat in this place.
Above is a poster for Il tuo vizio è una stanza chiusa e solo io ne ho la chiave, aka Your Vice Is a Locked Room and Only I Have the Key. The movie premiered in Italy today in 1970, but we're showing you the U.S. poster because its imagery of co-star Edwige Fenech and a devil cat is better, in our opinion, than the Italian one, which you see at bottom. The title is ridiculous, obviously, but how is the film? It's a typically labyrinthine giallo. Anita Strindberg, she of the glorious mouth and astonishing hair, is being tormented by her impotent writer husband Oliviero. When murders begin to occur in the crumbling mansion where they live he begs Strindberg to supply his alibi, claiming he had nothing to do with the crimes. Enter the husband's niece, Fenech. She arrives for a visit and forms an immediate sexual bond with Strindberg. They both think Oliviero is a killer and set out to prove it. The film is interesting, but it's always a problem when a mystery's solution has to be explained at the end because nobody in the film—nor in the audience—could figure it out. Still though, giallo completists will find something here to like. Below are some production photos, as well as a promo shot made for the film of Fenech in a tub. And you thought she'd never let go of that cat.
She can barely contain herself.
We have a second calendar page for you today. Above you see German actress Uschi Glas in a May 1968 feature from the West German magazine Bravo called Star de Monats, or “star of the month.” We watched her recently in the Italian giallo flick Sette orchidee macchiate di rosso, aka Seven Blood-Stained Orchids, and she was by far the best performer in it. We'll be seeing more of her later.
I can see how excited I've made you. Pour this bowl of cold water on it and see if that helps.
In the promo photo above Femi Benussi appears in costume—in amazing costume—as Lola in the film Il domestico. Benussi was born in Rovigno, Italy, which is now Rovnij, Croatia, and debuted in 1965's Il boia scarlatto, aka Bloody Pit of Horror. She went on to appear more than eighty films, including the giallo Nude per l'assassino, aka Strip Nude for Your Killer and the actioner Storia di sangue, aka Blood Story. The above image is from 1974, and just to make Benussi's outfit complete it also came with a hat, shoes, and a bruise courtesy of the makeup department, below. As we continue to work our way through various 1970s schlock classics you can be sure that Benussi will show up here again
________ murdered me, that shithead. Apprehend and imprison. Hopefully for life. And I prefer cremation over burial.
Above is a blood splattered poster for Dario Argento's giallo thriller Profondo rosso, aka Deep Red, which is the story of a British musician in Italy who sees the murder of his neighbor, thus catching a glimpse of the killer. David Hemmings of Blow Up fame stars, and the maniac comes for him next when police for some reason announce to the world that they have a witness. In order to avoid becoming a crime statistic Hemmings needs to unmask the killer. Daria Nicolodi plays the cute-but-not-hot Girl Friday reporter who helps out between trying to get the disinterested Hemmings in bed.
Argento directs Profondo rosso with great style and deliberation, drawing viewers into various set-ups with a roving, nervous camera. This came two years before his tour de force Suspiria, but he's already in full mastery of the extensive giallo toolbox. As usual in the genre, realism is of minor importance, such as when a dying woman wants to write her killer's identity using her finger on bathroom tile and starts with the words, “It was...” Here's a lifehack for you. When mortally wounded write the crucial info like Yoda would: “________, it was.” Afterward, if you have time, you can add any other material you consider important.
Despite the movie's quirks Argento manages to make a winner, at one point even recreating Edward Hopper's famous Nighthawks painting just for the sheer visual fun of it. Hemmings is a big plus too, sleuthing and channeling his inner jazz hepcat. Often in giallo overly convoluted clues make the identity of the killer impossible to guess. In this case the villain is revealed almost immediately—but only for those with sharp eyes. Others will have to wait for the usual climactic unveiling. Then rewind and watch the first murder again. Argento is a sneaky devil. Profondo rosso premiered in Italy today in 1975. See a truly brilliant poster for the film here.
Seven ways to die in Rome.
We mentioned a while back we were taking a closer look at vintage giallo flicks, and today you see a Renato Casaro poster for Sette orchidee macchiate di rosso, aka Seven Blood-Stained Orchids. During a train trip a serial killer who's been dispatching women in various diabolical ways tries to make a victim of Uschi Glas. Uschi's man Antonio Sabato is the police's number one suspect, and the only way he can disprove their suspicions is by finding the killer. Uschi plays sidekick for him, which is good, because he looks terribly confused most of the time. This falsely-accused-must-find-real-killer gimmick had already reached perennial status when Antonio arrived on the scene, so you'd hope for a fresh take on it—and be disappointed. This isn't a bad movie, but it's undistinguished, a giallo without the high style of the best entries in the genre. Umberto Lenzi, who had directed numerous films but was making his first giallo here, would do a bit better later. Sette orchidee macchiate di rosso premiered in Italy today in 1972.
It's a self portrait. I don't know why I painted myself bloody and mutilated. Just a weird inspiration.
These are my new strangling gloves. 100% lambskin. Nice, right?
My last victim didn't like gloves so this time I'm going bareback!
Not cutting him down.
Wait, what? That's not fair. I didn't even see him until just now.
This mystery is probably far less complicated than we think.
The headlines that mattered yesteryear.
1944—Vive la France
With the surrender of the last occupying German garrison, Paris is liberated from Nazi occupation by Allied troops after six days of fighting. The city had been administered by Nazi Germany since the Second Compiègne armistice in June 1940 when Germany occupied the north and west of France and when the Vichy regime was created in the city of Vichy in central France.
1954—Communist Party Outlawed
In the U.S., during the height of the Red Scare, President Dwight Eisenhower signs the Communist Control Act into law. The new legislation bans the American Communist Party, and prohibits people deemed to be communists from serving as officials in labor organizations.
1968—France Explodes Nuke
a two-stage nuclear weapon, codenamed Canopus, on Fangataufa, French Polynesia.
1942—Battle of Stalingrad Begins
The Battle of Stalingrad, perhaps the most pivotal event of World War II, begins. It lasts for more than six months, spread across the brutal Russian winter, and ends with two million casualties. The Russian sacrifice reduces the powerful German army to a shell of its former self, and as a result Nazi defeat in the war becomes a simple matter of time.
1979—Alexander Gudonov Defects
Russian ballet dancer and actor Alexander Borisovich Godunov defects to the U.S. The event causes an international diplomatic crisis, but Gudonov manages to win asylum. He joins the famous American Ballet Theater, where he becomes a colleague of fellow-defector Mikhail Baryshnikov, and later earns roles in such Hollywood films as Witness and Die Hard.
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