Posted: June 1st, 2012, 9:46 pm
Thank you Mr. A. I hope you were able to pull yourself from the giallo to see "CLAUDELLE INGLISH."
Mr. Arkadin wrote:I thought I'd post a review of one of my (and Tarantino's) favorite gialli films, Seven Notes in Black AKA The Psychic (1977).
MichiganJ wrote:Mr. Arkadin wrote:I thought I'd post a review of one of my (and Tarantino's) favorite gialli films, Seven Notes in Black AKA The Psychic (1977).
These multiple names for giallos gets confusing. Make sure you check for The Psychic on DVD and not just Seven Notes in Black. Seven Notes goes for $69 on Amazon; The Psychic is $19.
MR. ARKADIN wrote:I've been working another job on weekends (and might start a third soon) to put food on the table. When I am home I'm usually working on the house (and sometimes fixing the table so I can put the food on it), so my time is really limited right now...
ANTHOLOGY FILM ARCHIVES wrote:
The term Giallo, literally “yellow” in Italian, originally referred to a series of crime novels with trademark yellow covers. Giallo, as a film genre of Italian thrillers that grew out of these pulp fictions starting in the mid 60’s, became wildly popular in the 70’s, then faded away in the early 80s. Giallo left a legacy of films often overlooked but widely influential filmmakers such as Brian De Palma, Quentin Tarantino, and Darren Aronofsky. Apart from the signature blend of style and kitsch aesthetics, the genre features some of the most innovative scores ever created by the likes of Ennio Morricone, Riz Ortolani, and Goblin. While these films have enjoyed a revival of interest due to DVD release of several titles, they have yet to receive the 35mm treatment they absolutely deserve in a city like New York.
Programmed by Alessio Giorgetti, Alessio Grana and Yunsun Chae MALASTRANA FILM SERIES. Special thanks to Dario Argento, Simonetta Magnani CULTURAL ATTACHE-ITALIAN CULTURAL INSTITUTE NEW YORK, Adriana Chiesa Enterprises, Laura Argento CINETECA NAZIONALE, Chris Chouinard - PARK CIRCUS, Alba Gandolfo - CINETECA D.W.GRIFFITH, Harry Guerro, Alfredo Leone - INTERNATIONAL MEDIA FILMS, William Lustig - BLUE UNDERGROUND, Tony Musante, Marilee Womack - WB.
The festival will run from September 20 - 30.
Mr. Arkadin wrote:...I think your writing style and this genre would go hand in glove--a black leather glove that is.
MR. ARKADIN wrote:I basically started this thread to document my journey and raise a little interest and discussion if I could. One of the problems the genre faces in finding new converts is the fact that if you talk about a film too much, you give away all the clues and suspense that make it enjoyable for first time viewers. Talk too little and nobody cares. I've tried to limit what I say and use trailers and other devices so that I don't spoil the films for others, but I'm happy to discuss them in depth with people who have seen them. Giallo and Eurotrash in general, are starting to garner some critical acclaim and I think in the future we will revere some of these works as we do Noir, or classic American horror, which were also considered disposable at one time.
CineMaven wrote:“WHAT THE HECK DID I GET MYSELF INTO?!!”
MR. ARKADIN wrote:In reading the festival reviews more fully, I am shocked that they chose to show the films in such poor condition (supposedly one lady stood up and told them to purchase the DVD print). These movies need to be seen in proper condition and aspect ratios because the visual aspect is at least half of the experience.
I was also dismayed to discover that Deep Red (1975) was presented in the edited English version, which omitted much of the "deeper" (no pun intended) aspects of the film. In particular, there is one scene in the deserted square between Marc and Carlo where Argento has them parting ways and then uses the widescreen process to establish them on the far ends of the screen (at the outer edges of the square) debating over a chasm of empty space about perception, relativism, and truth, themes which are at the heart of the movie.
I'm also curious about what version The Girl Who Knew Too Much AKA The Evil Eye (1962) was shown. At the end of the U.S. version, the protagonist is persuaded to forget her ordeal and not get involved in others affairs--so much so, that she witnesses a man kill his wife and does nothing. Bava's original cut simply has her throw away marajuana cigarettes (disguised as regular tobacco) which are then picked up by a priest!
Hopefully, these problems can be corrected for future showings. In the meantime, I do have a computer with a soundcard today, so here's a trailer from the aforementioned House with Laughing Windows (1976) with a bit of discussion...