#Franco Fraticelli

[byneddiedingo]

Giancarlo Giannini in Seven Beauties (Lina Wertmüller, 1975)

Cast: Giancarlo Giannini, Fernando Rey, Shirley Stoler, Elena Fiore, Piero Di Iorio, Enzo Vitale, Roberto Herlitzka, Lucio Amelio, Ermelinda De Felice, Biaca D'Origlia, Francesca Marciano. Screenplay: Lina Wertmüller. Cinematography: Tonino Delli Colli. Production design: Enrico Job. Film editing: Franco Fraticelli. Music: Enzo Jannacci. 

As a student of literature, I was called on to memorize the seven deadly sins: pride, envy, wrath, avarice, sloth, gluttony, and lechery. But I don't think I was ever made to recall the corresponding virtues, which the medieval church categorized as humility, kindness, patience, charity, diligence, temperance, and chastity. Our age has added another to the list of virtues: survival. We speak of "survival of the fittest," which has caused us to couple fitness with health as the supreme necessities for survival. One of our most popular TV shows, now in its 45th season, is Survivor, the reality competition show that has a motto: "Outwit. Outplay. Outlast." Which brings us to Pasqualino Frafuso, aka "Settebellezze" or "Seven Beauties," the protagonist of Lina Wertmüller's scarifying satire Seven Beauties. Pasqualino commits almost every one of the seven deadly sins all for the sake of survival. He outwits, outplays, and outlasts the worst that can befall him in Europe under the heel of the Nazis, lying, killing, raping, seducing as the means to an end: staying alive. And of course we loathe him for it, while at the same time questioning what we would do in the same circumstances. Giancarlo Giannini's performance as Pasqualino would be a standout in any film: He's introduced to us as a Chaplinesque caricature of a strutting dandy, and for a while it's fun to watch him go from bad to worse, as in his efforts to dispose of the body of a man he has killed. But soon a queasiness sets in, as we wonder how much lower this worm can crawl. There should be no redemption for a Pasqualino, but instead Wertmüller gives us a cynical ending, suggesting that Pasqualino will repopulate the Earth with his own kind, in his own words, "A rotten comedy, a lousy farce, called living." Seven Beauties is an unsubtle film, and its lack of finesse in character and situation works against its ostensible aim as a moral fable. It makes a feint at seriousness of purpose by introducing a sympathetic character, Pasqualino's friend Francesco (Piero Di Iorio), and a moral exemplar, the anarchist Pedro (Fernando Rey), but the dominant note of the film is a sour nihilism.

[docrotten]

TENEBRAE (1982) – Episode 234 – Decades Of Horror 1980s

“<Evil chuckle> When I realized Christiano Berti was the killer… and it didn’t take me long to realize that. <Evil chuckle> The rest, Mr Germani, was like writing a book. A Book!” Book ’em, Dan-o! Wait. Wrong media. Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they take a cue from the 70s Grue Crew and take in some Giallo, Dario Argento-style with Tenebrae (1982).

Decades of Horror 1980s Episode 234 – Tenebrae (1982)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

American author Peter Neal, who – while in Rome promoting his latest murder-mystery novel – becomes embroiled in the search for a serial killer who may have been inspired to kill by his novel.

  Writer/Director: Dario Argento

Produced by: Claudio Argento (producer), Salvatore Argento (executive producer), Allan Scott (producer: English version)

Music by: Massimo Morante, Fabio Pignatelli, Claudio Simonetti (as Simonetti-Morante-Pigatelli)

Cinematography by: Luciano Tovolin (director of photography)

Film Editing by: Franco Fraticelli

First Assistant Director: Lamberto Bava

Second Assistant Director: Michele Soavi

Special Effects by: Giovanni Corridori (special effects)

Production Services – New York: William Lustig (uncredited)

Selected Cast:

Anthony Franciosa as Peter Neal

John Saxon as Bullmer

Daria Nicolodi as Anne

Giuliano Gemma as Detective Germani

Christian Borromeo as Gianni

Mirella D’Angelo as Tilde

Veronica Lario as Jane McKerrow

Ania Pieroni as Elsa Manni

Eva Robins as Girl on Beach

Carola Stagnaro as Detective Altieri

John Steiner as Christiano Berti

Lara Wendel as Maria Alboretto

Isabella Amadeo as Bullmer’s secretary

Mirella Banti as Marion

Lamberto Bava as Elevator Repairman #1 (uncredited)

It’s time for another 1980s feature from director Dario Argento with a return to the Giallo sub-genre. The film is Tenebrae – or Tenebre (original title) or Ténèbres (French) – and features Anthony Franciosa, John Saxon, and Daria Nicolodi. Argento was inspired by a series of incidents that saw an obsessed fan telephone the director to criticize him for the damaging psychological effects of his previous work. The telephone calls culminated in death threats towards Argento, who channeled the experience into the writing of Tenebrae with a double helix of a plot.

At the time of this writing, Tenebrae is available to stream from Wicked Horror TV, Shudder, Kanopy, and Plex. It is also available on Blu-Ray and 4K Ultra HD from Synapse Films.

This is the Decades of Horror Grue Crews’ xth encounter with Argento. Here are their other Argento episodes if you care to check them out.

THE BIRD WITH THE CRYSTAL PLUMAGE (1970) – Episode 190 – Decades of Horror 1970s

THE CAT O’ NINE TAILS (1971) – Episode 149 – Decades of Horror 1970s

DEEP RED (1975) — Episode 77 — Decades of Horror 1970s

SUSPIRIA (1977) — Episode 58 — Decades of Horror 1970s

PHENOMENA (1985) – Episode 168 – Decades of Horror 1980s

DARK GLASSES (2022, SHUDDER) – Gruesome Magazine #369

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be George Romero’s Monkey Shines (1988). Oh yeah. We love monkeys with sharp utensils!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[sesiondemadrugada]

Phenomena (Dario Argento, 1985).

[genevieveetguy]

This generation of females, who feel the impulse to learn how to kick males, I believe is dangerous. It’s more than matriarchy! This is the prelude to the Apocalypse.

Rita the Mosquito (Rita la zanzara), Lina Wertmüller (1966)

[badgaymovies]

Machine Gun McCain (1969)

Machine Gun McCain (1969)

GIULIANO MONTALDO Bil’s rating (out of 5): BBB Original Title: Gli Intoccabili Italy, 1969. Columbia Pictures, Euroatlantica, Euro International Films. Story by Mino Roli, Screenplay by Mino Roli, Dialogue by Israel Horovitz, freely based on the novel Candyleg by Ovid Demaris. Cinematography by Erico Menczer. Produced by Bino Cicogna, Marco Vicario. Music by Ennio Morricone. Production Design by…

[icollectimages]

Deep Red (1975)

Country: Italy

Directed by: Dario Argento

Written by: Argento & Bernardino Zapponi

Cinematography by: Luigi Kuveiller

Edited by: Franco Fraticelli

Produced by: Salvatore Argento

Music by: Goblin & Giorgio Gaslini

Production Design by: Giuseppe Bassan

[giallofever2]

1987

Rare Postcard (Official) of the Dario Argento’s Cult ...

Opera

Riprese

Le riprese cominciarono il 25 maggio 1987 e terminarono il 14 ottobre dello stesso anno.

La pellicola fu girata fra Lugano, in Svizzera, Roma e all'interno del Teatro Regio di Parma, ambientazione delle scene d'opera del film. La protagonista del film doveva essere, prima ancora che le riprese iniziassero, Giuliana De Sio poi rimossa per la scelta di Argento e lo sceneggiatore Ferrini di dare un'età più "verde" al personaggio principale e venne sostituita dalla meno nota Cristina Marsillach, che si rivelò però altrettanto valida.

Michele Soavi aiuta Argento nella regia del film come regista in seconda unità.

Durante le riprese avvennero sul set fatti strani, che convinsero Argento del fatto che il suo film fosse stato preso di mira dalla cosiddetta maledizione del Macbeth (in realtà esistente solo nel teatro di prosa per il dramma di Shakespeare, detto scaramanticamente dramma scozzese, mentre l'opera di Giuseppe Verdi non gode di nessuna fama infausta nell'ambiente operistico).

Accoglienza

La pellicola ebbe molto successo tra il pubblico, arrivando al 12º posto della classifica dei film dal maggior incasso in Italia nella stagione cinematografica 1987-88 (in totale incassò 7.207.592.000 £).

Riconoscimenti

1990 - Festival internazionale del cinema di Porto

Nomination Miglior film a Dario Argento

1988 - Ciak d'oro

Miglior manifesto a Renato Casaro

Nomination Miglior scenografia a Davide Bassan

Nomination Migliori costumi a Lia Francesca Morandini

Nomination Miglior montaggio a Franco Fraticelli

Dario Argento - authorized page

Cast

Cristina Marsillach: Betty

Ian Charleson: Marco

Urbano Barberini: Santini

Antonino Iuorio: Baldini

Daria Nicolodi: Mira

Coralina Cataldi Tassoni: Giulia

Antonella Vitale: Marion

William McNamara: Stefano

Barbara Cupisti: sig.ra Albertini

Carola Stagnaro: madre di Alma

Francesca Cassola: Alma

Maurizio Garrone: Maurizio

Cristina Giachino: Maria

György Gyõriványi: Miro

Peter Pitsch: assistente di Mara Cekova

Bjorn Hammer: poliziotto

Sebastiano Somma: poliziotto

Dario Argento: narratore

Michele Soavi: Daniele Soave

[lucrecialionti]

Damero Illusio 150 x 150 x 5 cm. Tela, hilo, fieltro, papel, témpera. 2019

Foto: Gustavo Sosa Pinilla. Gentileza: Colección Amalita.

PREMIO FUNDACIÓN FORTABAT

Seleccionados Artistas mayores de 35 años: Sergio Bazán, Juan Becú, Gisele Bliman, Florencia Bohtlingk, Sofia Bohtlingk, Dolores Casares, Juan Alejandro Castillo, L&D Chiachio & Giannone, Cynthia Cohen, Andrés Gastón Compagnucci, Roberto Cortés, Pablo de Montaldo, Juan Martin Di Girolamo, Diana Dowek, Manuela Durañona y Vedia, Franco Fasoli, María Ferrari Hardoy, Diego Figueroa, Onofre Roque Fraticelli, Valeria Gopar, Alicia Herrero, Mario Inchauspe, Ricardo Laham, Catalina León, Valentina Liernur, Valeria Maculan, Gustavo Marrone, Paula Otegui, Aimé Pastorino, Diego Perrotta, Julián Prebisch, Deborah Pruden, Victor Quiroga, Lucas Rocino, Belén Romero Gunset, Luciana Rondolini, Cristina Schiavi, Cristian Segura, Pablo Andrés Sinaí, Richard Sturgeon, Inés Szigety, Leila Tschopp, Paola Vega, Gabriela Winicki, Horacio Zabala

Jóvenes, artistas de 18 a 34 años: Manuel Aja Espil, Andrés Alvez, Paz Bardi, Sofía Berakha, Cecilia Catalin, Alfredo Dufour, Nahuel Ferreira, Esteban Giannone Martinez, Camila Lamarca, Diffusion Line, Lucrecia Lionti, Gimena Macri, Valeria Maggi, Nadia Martynovich, Federico Manuel Mesaroli, Tiziana Pierri, Andrés Piña, Nicolas Ponton, Victoria Renzo, Nicolás Romero Escalada, Ana Clara Soler, Ariel Venegas, Mayra Vom Brocke Jurado: Mari Carmen Ramirez, Marcelo Pacheco, Pablo León de la Barra, Amalia Amoedo y Rodrigo Alonso

[tmnotizie]

di Stefania Mezzina

SAN BENEDETTO – Lunedì 19 agosto, dalle ore 21.30, tornerà Pianeta Oltremarte, ai Bagni Oltremare di Maria Rita e Gigi Capriotti. L’appuntamento con i viaggi dell’arte e delle eccellenze picene questa volta sarà centrato sui Germogli d’arte.

A partire dalle ore 21.30 andranno in scena le performance di giovani talenti e lo spettacolo di Pippi Trasformista. Sarà ancora una volta Luca Sestili, il magnifico condottiero, del nuovo appuntamento della 11^ edizione di Pianeta Oltremarte, con la sua capacità di presentare quanto si alterna alla manifestazione che gode del patrocinio della Provincia di Ascoli Piceno, della Camera di Commercio delle Marche, del comune di San Benedetto del Tronto e della Confcommercio provinciale.

Il tutto sarà condito dagli eccezionali  momenti musicali del maestro Sergio Capoferri e dalla potente voce del tenore Antonio Camela, che ad ogni appuntamento catturano e strappano grandi applausi dal pubblico.

L’evento arriva dopo la vetrina offerta dal Pianeta a Monsampolo del Tronto e Castignano. Protagonisti sono stati gli gnocchi di Monsampolo, realizzati al momento e offerti al pubblico dalle donne del Circolo Culturale Monsampolese, rappresentato nell’occasione da Emidio Ciabattoni: un laboratorio che ha offerto ai turisti la possibilità di realizzare a loro volta gli gnocchi, tra gli applausi del pubblico.

Monsampolo ha offerto anche la musica folkloristica del gruppo “Miet e lea”, e la presentazione del museo delle mummie, con i tour notturno “Miti e Misteri” del martedì, illustrati dal sindaco Massimo Narcisi, così come la degustazione dei vini de Il Crinale, rappresentata dal monsampolese Armando Neroni e per questo inserita tra le proposte del territorio.

Per Castignano, gli applausi sono andati alle piccole e competenti guide di Templaria, con pillole dell’importante manifestazione, tramite l’esibizione di alcune figure tradizionali, come i carcerati e i fraticelli: piccole guide alle quali spetta il compito di accogliere i visitatori e di raccontare le notizie storiche del territorio e di Templaria, in scena sino al 21 agosto. All’interno di Templaria si contano relatori, tra cui, quest’anno, il professor Franco Mezzanotte, per gli addetti ai lavori un nome importante.

Si è parlato e il pubblico ha avuto l’opportunità di gustare i semi dell’Anice verde di Castignano, Presidio Slow Food, a cura dello staff e del presidente dell’omonima associazione, Sergio Corradetti, e infine accenni al Museo d’arte sacra. Territorio rappresentato dal sindaco Fabio Polini. Padrone di casa istituzionale, il sindaco Pasqualino Punti, che non si è sottratto all’invito di una performance canora, oltre ai saluti di rito, e ai rallegramenti espressi verso l’importante manifestazione di Pianeta Oltremarte, anche da parte di Fausto Calabresi, presidente provinciale della Confcommercio.

Ulteriore appuntamento sarà giovedì 22 agosto: dopo la pausa dettata dalla concomitanza del ferragosto, il giovedì dell’arte vedrà in scena Venarotta, Palmiano e Castorano con le sue caratteristiche e offerte gastronomiche.

[byneddiedingo]

Giancarlo Giannini and Mariangela Melato in Love & Anarchy (Lina Wertmüller, 1973)

Cast: Giancarlo Giannini, Mariangela Melato, Eros Pagni, Pina Cei, Elena Fiore, Giuliana Calandra, Isa Bellini, Lia Polito. Screenplay: Lina Wertmüller. Cinematography: Giuseppe Rotunno. Art direction: Gianni Giovagnoni. Film editing: Franco Fraticelli. Music: Nino Rota, Carlo Savina.

Lina Wertmüller was the first woman ever nominated for the best director Oscar, for Seven Beauties (1975). I always thought that her films were wound a little too tight, and Love & Anarchy rather confirms my opinion. The performances are ratcheted up at times to near-hysteria, and things that could be said are shouted. But even when Wertmüller's cast is milking it for all it's worth, it's clear that she has a point of view and the means to express it, especially with the two actors on whom she frequently called during her directorial heyday half a century ago. As Tunin, the "bumpkin" who has taken on the task of assassinating Mussolini, Giancarlo Giannini plays a complete dramatic arc, from the wide-eyed, almost comatose naïf who finds himself lodged in a Roman brothel and then goes through stages of passion, fear, disgust, commitment, and a final martyrdom. Mariangela Melato as the sex worker Salomè doesn't have such a grand arc to traverse, but somehow she manages to let traces of humanity show through the flamboyant façade she has adopted. Eros Pagni as the odious Fascist Spatoletti and Lia Polito as Tripolina, the winsome prostitute who wins Tunin's heart, are also good, though their roles verge on caricature. The handsome cinematography is by Giuseppe Rotunno, who at one point expresses the divisions in Tunin's character by a tricky, brilliant shot that shows Giannini and his reflections in two different mirrors.

[eleonthescene]

Mr. Pauer y Mirella Cesa traen ‘Respira’ a Nueva York

News / Noticias

Mr. Pauer y Mirella Cesa traen ‘Respira’ a Nueva York

Jul 27, 2018 Por Sandra Escallón

Photo by Cesar Calderón/BMI   El productor y artista venezolano Mr. Pauer fue parte del show Verano Alternativo dentro de la conferencia Latin Alternative Music (LAMC) en Nueva York. El nominado a los Latin Grammy estuvo acompañado de la cantante ecuatoriana Mirella Cesa con quien presentó la canción Respira. Mr. Pauer es considerado como el creador del sonido Electrópico, y ha colaborado con grandes de la industria musical. Mr. Pauer habló con nosotros sobre su colaboración con Mirella y su experiencia en Nueva York.   S: ¿Cómo nació la colaboración con Mirella Cesa para hacer la canción Respira? Mr. Pauer: Tuve la dicha de conocer a Mirella ya hace un par de años y coincidió que ella estuvo en Miami, donde tengo mi estudio, y logramos concretar una reunión para conocernos y explorar musicalmente lo que podíamos hacer. Ella trae un sonido que se llama ANDIPOP, que son sonidos andinos donde usa instrumentos como el charango, sonidos más de la montaña. Por otro lado, Mr. Pauer hace un sonido que se llama Electrópico, que es la frecuencia sonora que sucede entre el trópico de cáncer y el de capricornio alrededor del mundo, en su basta colección percusiva y exploración de los sonidos africanos y su influencia en nuestros países.   Fue interesante combinar ese sonido de la montaña con el sonido del caribe, y estuvimos en el estudio creando esta canción que aparte tiene un mensaje que habla sobre pausar un poco, observar a nuestro alrededor y apreciar algo tan sencillo como la respiración. De esta manera se da nuestra colaboración, de la cual ya tenemos el video musical.   S: El video tiene ya más de 100 mil vistas y la canción ha sido muy bien recibida por sus seguidores. ¿Qué significa ver que nuevas generaciones admiran y siguen la música de nuestras raíces? Mr. Pauer: Me da muchísima alegría porque tenemos en el momento todo el boom del género urbano, que es el nuevo pop que está nominando a nivel mundial, y eso también nos ha dado beneficios de que la gente sea más exploratoria y conozca nuevos sonidos latinoamericanos, los cuales están también formados desde hace muchos años.   Y también hay artistas como Mr. Pauer y Mirella que están haciendo toda esta evolución sonora de la herencia musical de nuestros países y proponen un sonido nuevo y fresco. Me da mucha alegría poder expresarme de esta manera y tener un público que también entiende lo que está pasando musicalmente.   S: Bueno, y tuvieron la oportunidad de tocar Respira junto a Mirella en Nueva York durante el Latin Alternative Music Conference. ¿Cómo fue esa experiencia? Mr.Pauer: Estabamos ya con la expectativa de poder tocar en Nueva York en el evento de BMI. Esta canción fue hecha en un estudio y es interesante cómo se ve todo este proceso de creación desde la primera conversación hasta hacer un showcase en Nueva York. Así vamos respirando el camino que nos da la canción y hacia dónde nos va llevando.   S: ¿Qué nuevos proyectos vienen en camino? Mr. Pauer:  Siempre estoy en mis facetas como productor, como lo hice con Mirella,  de live performer, donde llevo mi música original en vivo con mi banda, y como dj. Con esas 3 me mantengo entretenido y con la agenda llena. Tenemos un track nuevo que nace de esta colaboración con Mirella que saldrá probablemente antes de fin de año. Este se llama Alboroto y también lo tocamos en el showcase de BMI donde el público lo recibió muy bien. Admiro también el trabajo de Mirella, al ser artista independiente, como yo, ya que llevo muchos años en este patrón.   S: ¿Qué le dirías a esos artistas que están empezando como músicos independientes? Mr.Pauer: Para mi es clave estar muy claro de que realmente la música es lo que te mueve, yo tube la dicha de encontrarme con ese sentimiento a una temprana edad. Una vez que ya lo descubres sigue el paso más grande, es cómo lo proteges, cómo eres responsable de ese don de hacer música, y cómo eres dedicado. La dedicación, creer en ti mismo, y creer en lo que estás aportando al mundo son la clave para seguir adelante. Tengo la fortuna de vivir de la música, y esto es un compromiso y un modo de vida. Al mismo tiempo es bello cuando estás en un escenario y compartes con un público que siente lo mismo cuando se toca una canción.   >   (adsbygoogle = window.adsbygoogle || ).push({}); Search for: https://www.youtube.com/watch?v=K68zhw-fxuM&t=116s CategoriesBlog Brazil Events Fashion Featured Flashbacks News/Noticias On the Scene Sports Press Alert Television Uncategorized

Maréh: “Mis canciones nacen de las ganas de comunicar, de expresar y de sentir”

by admin | Jul 25, 2018 | Featured, News/Noticias | 0 CommentsEl cantante-compositor caleño Maréh se ha ido convirtiendo en la nueva voz de la escena musical colombiana para el mundo. Su música combina diferentes sonidos, desde el jazz hasta el reggae, que lo han llevado a compartir escenarios con músicos como Cultura Profética y Aterciopelados. El también multinstrumentista hizo parte del Latin Alternative Music Conference (LAMC), una de las conferencias más importantes en Nueva York, para mostrar su nuevo álbum Amuleto en el evento Verano Alternativo, organizado por BMI. Hablamos con Maréh sobre su música y experiencia en este exclusivo showcase.

La obra ‘Riqueño’ habla de la identidad puertorriqueña

by admin | Jul 22, 2018 | Featured, News/Noticias | 0 CommentsYo escribí el texto, la música fue realizada por el maestro Emanuel Franco Fraticelli, quien es un compositor puertorriqueño y ahora estudia en el conservatorio de Puerto Rico. En la dirección está Zoe Clayton, la diseñadora de vestuario y escenografía es Domitille Angoulvant, diseñadora de media es Sophie Chen….

MANHATTAN STEAM PIPE EXPLOSION

by admin | Jul 20, 2018 | Featured, News/Noticias | 0 CommentsOn Thursday July 19th, at 6:39 am, there was a steam line rupture close to the iconic Flatiron in Manhattan. There was a lot of smoke but nobody got injured. « Older Entries ELE OnTheScene MEET ELE OnTheScene About Us Staff Press Alerts EPK Media Kit NEED HELP? Privacy Policy Cookies Policy Contact Us FOLLOW US facebook Twitter Google+ Pinterest Instagram tumblr Youtube skype RSS Noticias / News Read the full article

[docrotten]

THE BIRD WITH THE CRYSTAL PLUMAGE (1970) – Episode 190 – Decades Of Horror 1970s

“Right! Bring in the perverts” They always make for a good police lineup. Join your faithful Grue Crew – Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they get their Giallo on with Dario Argento’s first shot at directing, The Bird with the Crystal Plumage (1970).

Decades of Horror 1970s Episode 190 – The Bird with the Crystal Plumage (1970)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

An American expatriate in Rome attempts to unmask a serial killer he witnessed in the act of attempted murder – and is now hunting him and his girlfriend.

  Director: Dario Argento

Writers: Dario Argento; Fredric Brown (novel, The Screaming Mimi, 1949) (uncredited)

Produced by: Salvatore Argento (producer); Artur Brauner (executive producer: CCC Filmkunst) (uncredited)

Music by: Ennio Morricone

Cinematography by: Vittorio Storaro (director of photography)

Film Editing by: Franco Fraticelli

Selected Cast:

Tony Musante as Sam Dalmas

Suzy Kendall as Julia

Enrico Maria Salerno as Inspector Morosini

Eva Renzi as Monica Ranieri

Umberto Raho as Alberto Ranieri

Renato Romano as Professor Carlo Dover (credited as Raf Valenti)

Giuseppe Castellano as Monti

Mario Adorf as Berto Consalvi

Pino Patti as Faiena

Gildo Di Marco as Garullo

Rosita Torosh as 4th Victim (as Rosa Toros)

Omar Bonaro as Police Detective

Fulvio Mingozzi as Police Detective

Werner Peters as Antique Dealer

Karen Valenti as Tina, 5th Victim

Carla Mancini as Girl watching TV

Bruno Erba as Police Detective

Reggie Nalder as Needles, Yellow Jacket Assassin (uncredited)

With his first feature directorial effort, modern horror master Dario Argento immediately showed off his skill, precision, and artistry. Often looked upon as the rise in popularity for Giallo films, The Bird with the Crystal Plumage (1970) would set the bar for all the pre-slasher killer mystery thrillers for over a decade even giving the father of the subgenre, Mario Bava (The Girl Who Too Much, 1963; Blood and Black Lace, 1964), a run for his money. While Argento adapts many influences into his first of a series of films known as the “Animal Trilogy,” along with The Cat o’ Nine Tails (1971) and Four Flies on Grey Velvet (1971), his film would in turn influence many films for decades to come. Some of those films would be directed by his peers such as Bava and Lucio Fulci. Others who would pay homage would be the likes of Carpenter and de Palma. Jeff, Doc, Bill, and Chad gather to discuss the film, its creators, and its mark on the genre.  

At the time of this writing, The Bird with the Crystal Plumage is available to stream on a multitude of streaming and PPV services including Kanopy, Tubi, Prime Video, and Screambox to name a few.  The film is also available as a Blu-ray and as a 4K Ultra HD Blu-ray from Arrow Video.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by Chad, will be The Dunwich Horror (1970). Yog-Sothoth, anyone?

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com. 

Check out this episode!

[sesiondemadrugada]

Deep Red (Dario Argento, 1975).

[genevieveetguy]

The Three Mothers rule the world with sorrow, tears and darkness.

Inferno, Dario Argento (1980)

[badgaymovies]

Goliath And the Barbarians (1959)

Goliath And the Barbarians (1959)

CARLO CAMPOGALLIANI Bil’s rating (out of 5): BB.5 Original Title: Il terrore dei barbari Italy, 1959. Alta Vista, Standard Produzione. Screenplay by Gino Mangini, Emimmo Salvi, Nino Stresa, Giuseppe Taffarel. Cinematography by Bitto Albertini. Produced by Emimmo Salvi. Music by Les Baxter, Carlo Innocenzi. Production Design by Oscar D’Amico. Costume Design by Giorgio Desideri, Giovanna Natili.…

[byneddiedingo]

Jessica Harper in Suspiria (Dario Argento, 1977)

Cast: Jessica Harper, Stefania Cassini, Flavio Bucci, Miguel Bosé, Barbara Magnolfi, Susanna Javicoli, Eva Axén, Rudolf Schündler, Udo Kier, Alida Valli, Joan Bennett. Screenplay: Dario Argento, Daria Nicolodi. Cinematography: Luciano Tovoli. Production design: Giuseppe Bassan. Film editing: Franco Fraticelli. Music: Dario Argento, Goblin (Agostino Marangolo, Massimo Morante, Fabio Pignatelli, Claudio Simonetti). 

I've seen movies in which the sets were more interesting than what's going on in them, but I don't think anyone would say that about Dario Argento's Suspiria. At the very least, in the competition of setting and action for the viewer's attention, it's a draw. When Suzy Bannion (Jessica Harper) tells a cab driver to take her to Escherstrasse, I should have been alerted to the visual phantasmagoria that is to come. It's clear that Argento means us to pick up on the allusion to the Dutch artist M.C. Escher, known for his plays on perspective and visual puzzles; Argento has the surly cabbie force Suzy to repeat the street name twice before saying it himself. But Escher's work was in black and white; Argento's, and that of his production designer, Giuseppe Bassan, and his cinematographer, Luciano Tovoli, is in color -- the most lurid Technicolor seen in a movie since the heyday of the MGM musical. Not that Suspiria has much in common with those musicals: The dominant color in Suspiria is red, and a lot of that red is blood, often artfully splattered. (One large blood splat looks like a Rorschach test.) I can't say that I was shocked by anything in the movie, although the many murders in it verge on overkill. It's too gaudy and noisy -- the background music by Goblin is the aural equivalent of the decor -- to build much tension. I could wish the dubbing of the dialogue didn't have the depthless quality, the lack of ambiance, of speech recorded in a studio -- even the English-speaking actors were post-synched in the manner of many Italian films of the era. But then the dialogue doesn't matter much: It's nonsense about witches, and the plot is only a device to hang horrors on. Still, Suspiria is a one-of-a-kind movie -- maybe we should be grateful for that -- and a landmark in its genre.