I love Lenzi's gialli offerings, or at least the one's I have experiences! I still need to see KNIFE OF ICE and A QUIET PLACE TO KILL. SPASMO and EYEBALL are some of my more favorite gialli viewings. Two very stylish yet, odd in nature but still very effective in the payoff!
It's been a long time since I first seen his SO SWEET... SO PERVERSE (1969), was that not just recently issued on DVD again??
I absolutely loved Freda's brilliant I VAMPRI! Now, what was the deal with Bava being uncredited for with this again? I know he had something to do with the overall direction, but what's the full story on that again?
Any opinions about this more recent giallo? I've heard some bad things but when I found it dirt cheap on eBay, I couldn't resist the temptation of picking it up. Figured I need to give some of the more recent horrer/thriller stuff a chance too. Still waiting for it to arrive and I'm not quite sure what to expect of it but at least it has a pretty good cast that includes famous transsexual Eva Robins from TENEBRAE (1982) and the good-looking Elisabetta Rocchietti, who has been cropping up in a lot of horror stuff like THE THREE FACES OF TERROR (2004), DO YOU LIKE HITCHCOCK? (2005) and THE LAST HOUSE IN THE WOODS (2006). Not to mention supporting roles by Florinda Bolkan and Franco Nero! Anyone here seen it?
Interesting looking film out of Italy with Irish/Spanish co-financiers. Directed by Italian SFX man Stefano Bessoni.
In the 1600s, long before the invention of photography, a scientist named Girolamo Fumagalli was obsessed with the idea of reproducing images. He discovered that by killing a victim and removing the victim's eyeballs, it was possible to reproduce on paper the last image imprinted on that person's retinas. He named this technique 'thanatography'. Today, the same kind of gruesome ritual and abominable crime recurs within the walls of an international school of cinema. -imdb.com
Also stars the daughter of Charlie Chapman, Geraldine Chaplin as well as her daughter Oona.
Well, it seems this is yet another Argento flick that is taking a beating in the review department. Even die hard fans are not too pleased with this outing. Anyhow, the PAL R2 DVD is now out via a Polish company that found it important to force the Polish subs!
Looks like this will be getting a UK release first via Arrow Films! I still haven't seen this, it was on my radar during last year's Midnight Madness during the Toronto Film Fest. The disc will be released March 15th..
I'd love to grab this, but for now I'm holding off on the Blu-Ray player for now, too unstable industry right now. Plus, the multi-region player are way too expensive!
By the time he had branched out outside of North America and been contracted for co-lead and supporting Special Guest Star roles, respectively, by Italian producers for his first two European film appearances in 1969, former MGM fiery-haired favorite and multi-layered diamond in the acting rough, Van Johnson, was an established American actor of already over two decades and to that point, upwards of eighty pictures (the last of his career would come in 1992). His first two movies shot over in Europe – falling into the category of coined-term, “Euro-cult” – were both handled by above average and capable directors (both of whom – more so Castellari – have developed modest cult followings). The first came courtesy explosive Italian action maestro and son of journeyman director, Marino Girolami – the usually fantastic, Enzo G. Castellari – in the form of his seldom seen, minor war film and well-received precursor to his later, better battle driven, miniature exploding epics – LA BATTAGLIA D’INGHILTERRA(1969) (EAGLES OVER LONDON). Although some cite the picture as one of the best of its kind, Johnson is cast largely against type as a British Air Marshall who aligns himself with the Germans before finding himself in the skies fighting off the advancing nasty Nazi’s. Taking on the role of supporting player in Castellari’s very first war offering, Johnson has the distinction of finding himself the sole American performer in EAGLES OVER LONDON, a few notches below Czechoslovakian-born Italian action regular of the time, Frederick Stafford. Among the list of Van Johnson’s back and forth forays into European film, LA BATTAGLIA D’INGHILTERRA is arguably his most atypical role. Johnson’s depth and versatility as an actor would shine through as very apparent throughout his modest, but respectable body of work in Euro-cult pictures of primarily Italian decent - the same year during his initial stint also portraying the President of the United States in Tonino Valerii’s, IL PREZZO DEL POTERE(1969) (THE PRICE OF POWER). An approach and attempt at his own vision of one of the events that changed the course of history – the assassination of John F. Kennedy – Valerii’s political western has remained much wanted and regarded by enthusiasts of the genre, with Johnson appearing briefly, but effectively in the role of President James Garfield. Albeit scant - Johnson’s position in the film as a figure of high authority protecting the rights of the poor, lower-class black man, resulting in his subsequent post-Civil War murder, is quite possibly the most important of his Italian cinema contributions. The significance of the part would without question maintain its power over anything to follow from Van’s subsequent Euro-canon.
Van Johnson’s work to follow on the continent is really a bizarrely varied smattering of obscure or forgotten titles from several genres, some of which no doubt ol’ Van himself wouldn’t have minded being swept under the rug. His appearances in Italian fringe cinema as the 1970’s rolled in were sprinkled throughout the decade at best. 1971 saw Johnson pop up in the Roberto Bianchi Montero, Italian/Austrian crime flick, L’OCCHIO DEL RAGNO (EYE OFTHE SPIDER). In this moody rarity, Van would find himself opposite poliziotteschi heavyweight, Antonio Sabato and Internationally renowned madman, Klaus Kinski. Known releases for the film are few, with several collectors having picked up a notable Finnish VHS released sometime in the eighties. The plot has Sabato as a former diamond heist pro, who along with former operation funder, Johnson, are out for some solid payback from certain members of the syndicate who screwed them over on a payoff that’s nowhere in sight. Van would not be active on the Italian film front again for another nearly eight years, resurfacing for the infamous Ruggero Deodato in CONCORDE AFFAIRE ’79 (1979) as the pilot of one of the massive aircraft, and the almost equally notorious, Umberto Lenzi, in DA CORLEONE A BROOKLYN (1979)(FROM CORLEONE TO BROOKLYN) as a New York Police Lieutenant assisting Italian cop Maurizio Merli in busting a deadly mafia killer. Lenzi’s film is another often noted as a favorite among fans of Johnson’s European performances.
As the seventies concluded and the eighties began their ascent, less projects stateside came calling and Van Johnson saw his most prolific decade in Europe as a result. It began in 1982 with Sergio Martino’s late giallo entry, ASSASSINIO AL CIMITERO ETRUSCO (MURDER IN AN ETRUSCAN CEMETERY) in which he plays Elvire Audrey’s heroin smuggling father. From all accounts, MURDER IN AN ETRUSCAN CEMETERY has been bashed ruthlessly. This however, as far as I can assess, is mainly due to its piss poor release history and print variants – most of which trim it to the point of making it appear much less a movie, and more a cut and pasted, muddled mess. Known in many circles as THE SCORPION WITH TWO TAILS, this is by far one of Van Johnson’s most neglected Italian pictures and least cited roles. It certainly marks the only occasion in which Van’s character is caught up in the illicit drug trade – thus if anything, especially making it uniquely opposite from much of the former Hollywood golden boy’s previous work. The absolutely fantastic news for fans, collectors, and most importantly, those seeking out some of these must have titles from Van’s somewhat enigmatic period in European productions (which continued on and off for twenty years), is that as of this writing, Martino’s MURDER IN AN ETRUSCAN CEMETERY is set to hit DVD for the first time ever in it’s absolute uncut form (as THE SCORPION WITH TWO TALES), presented letterboxed with scenes included from the extended television version, as well as deleted scenes, alternate openings, etc. This is tremendous news for fans of Van Johnson looking to check into this forgotten title, perhaps not deservedly trashed the way it has been over the years, as maybe this DVD (from MYA Communication) will serve to prove. Curious to know what Van himself felt about this one.
Among several oddities from a busy number of years to follow - most of which were filmed during a quite active time on the Euro-cult scene for Van between ’86 and 1990 - were a couple that today are some of the most heralded from Johnson’s Eurography (officially a new Euro-cult term, as of now!). Noteworthy outings from this particular four year span’s output include, Fabrizio De Angelis’ JAWS inspired stab at the old, tried and tested giant reptile theme - KILLER CROCODILE (1989) – as well also, his final venture into the wild world of cinematic exploits out of Europe – DELTA FORCE COMMANDO 2: PRIORITY RED ONE (1990). Both films are not only examples of Van Johnson’s last days in Italian cinema, but also both prime selections to catch Van on the other side of the coin in despicable villain mode – in De Angelis’ film, working against his duties to enforce the law in favor of covering up illegal toxic dumping, and in Pierluigi Ciriaci’s follow-up to his own, DELTA FORCE COMMANDO, playing a nasty General with ample enough scars to officially bill him, “bad guy” (of which he sustained real ones following a car crash many years prior). Proof that if anything, Van Johnson could have a personal laugh while at work in these productions and really not take himself overly seriously.
With five plus decades of all manner of on screen entertainment under his belt, over 120 movie and television roles to his credit, on top of hit stops on Broadway and various other onstage performances to be proud of as years passed – not to mention a 1976 Emmy nomination and a star on the Hollywood Walk of Fame - Van Johnson had truly done it all. Indeed so true, as avid followers of all that is European cult cinema are also honored and privileged to have had him grace their neck of the woods in a good handful of pictures that one would not have expected the likes of Van Johnson to pop up in. Although some of these Italy based acting choices may have been out of necessity for him personally, Van was clearly an identifiable presence to European audiences , in turn encouraging producers from overseas to petition for his most worthy time and talents. From day one, Van Johnson was a solid class act all around, with his charming charisma and studious delivery.
Sadly, this past Friday, December 12, 2008, Van Johnson died of natural causes in Nyack, New York at 92 years of age, as announced by a representative for the actor. He had been in declining health in recent years, being cared for at a senior’s living community at the time of his passing. Nonetheless, Van Johnson will always be the handsome 1940’s and 50’s MGM silver screen heartthrob in that he came to be known as in the eyes of so many. Those same moviegoers can now also look at Van in an extended light – one that also shone a path on the less travelled fringes of Italian cinema and beyond. Most definitely shoes that could never be filled but by one man…and most definitely a man that won’t ever be forgotten, no matter the country or continent. Van Johnson, you’re sorely missed already. Thank you kindly, from all of us.
VAN JOHNSON’S SELECTED FILMOGRAPHY
-LA BATTAGLIA D’INGHILTERRA (1969) Dir. Enzo G. Castellari / AKA. EAGLES OVER LONDON
-IL PREZZO DEL POTERE (1969) Dir. Tonino Valerii / AKA. THE PRICE OF POWER
-L’OCCHIO DEL RAGNO (1971) Dir. Roberto Bianchi Montero / AKA. EYE OF THE SPIDER
-CONCORDE AFFAIRE ’79 (1979) Dir. Ruggero Deodato / AKA. THE CONCORDE AFFAIR
-DA CORLEONE A BROOKLYN (1979) Dir. Umberto Lenzi / AKA. FROM CORLEONE TO BROOKLYN
-ASSASSINIO AL CIMITERO ETRUSCO (1982) Dir. Sergio Martino / AKA. MURDER IN AN ETRUSCAN CEMETERY
-LAGGIU NELLA GIUNGLA (1986) Dir. Stefano Reali / AKA. DOWN THERE IN THE JUNGLE
-TAXI KILLER (1988) Dir. Stelvio Massi
- FUGA DAL PARADISO (1989) Dir. Ettore Pasculli / AKA. ESCAPE FROM PARADISE
-KILLER CROCODILE (1989) Dir. Fabrizio De Angelis / AKA. MURDER ALLIGATOR
-DELTA FORCE COMMANDO 2: PRIORITY RED ONE (1990) Dir. Pierluigi Ciriaci
PAOLA MONTENERO
An incredibly fascinating, yet also largely obscure actress who seemed to have somewhat of a “specialty career” in the Italian cinema of the seventies and early eighties, Paola Montenero – as is the case with similar female Euro-cult performers of the time – has become something of an anomaly today. She first gained notice in her formative years as a photo model and contortionist leading up to her initial appearance in film.
Although not entirely impossible for the uninitiated to spot thanks in part to her generally waifish appearance, a number of viewers are likely to have seen her for the first time through her most accessible film role and not even known it. Hawk-eyed folks who’ve also managed to get their hands on some of her later, far more difficult to obtain efforts, may recognize her as the bottom half of a squirming sexual impalement courtesy horror icon, Mario Bava’s supreme slasher blueprint, REAZIONE A CATENA (1971) (A BAY OF BLOOD). That is indeed a lighter, longer haired Paola Montenero in the role of twice impaled (one being the consensual kind of poking) Denise, playing the part under the pseudonym, Paola Rubens – though not quite as uninhibited just yet at the time as she would later become. It did, however, take Montenero some dabbling in various genres to find her niche, if you will. It wouldn’t be long though before she accidentally found love, on the set of only her third film – director Massimo Pirri’s seldom seen, CALAMO (1975). Perhaps interested more in her director than the film in front of her – and visa versa – before long Montenero and Pirri sparked a passion that would result in a lasting, yet eventually turbulent marriage.
As Paola’s career continued on, finding itself at an occasional standstill here and there, she developed a penchant for appearing in some fairly off the wall stuff – possibly in part to it being all she could get, as well as more probable the scenario now being that she had developed a rather expensive heroin habit she needed to do what she must to fund. Around this time, she also got hired for more high profile nude photo shoots – participating in a spread for the April 1976 issue of Playmen, and eventually another for the Italian version of Playboy in January of 1978. Also towards the later seventies, Paola Montenero’s filmography started to take a more adventurously explicit turn, appearing in experimental pictures like the controversial Alberto Cavallone’s, L’UOMO LA DONNA E LA BESTIA (1977), and all around wall to wall smut, as with Franco Rossetti’s, IL MONDO PORNO DI DUE SORELLE (1978) (EMANUELLE AND JOANNA), in which Montenero runs an incredibly seedy house of perversions, giving her curious sister, of all people, the raunchy grand tour. Rossetti’s film actually may be one of the highest profile parts Montenero ever landed – at least in terms of screen time and dialogue.
For whatever reason, following IL MONDO PORNO DI DUE SORELLE, Montenero would take a hiatus from acting until 1980 – with a very feasible reason being her dissolving marriage to Pirri – which in all likelihood ended up strained along with the drug use to the point where it was no longer salvageable. Some have even speculated that Massimo Pirri’s 1980 junkie exposé, EROINA (THE TUNNEL), starring Helmut Berger and Corrine Clery, is in some ways a nod to his own troubled relationship with Montenero. In site of this, Paola Montenero moved ahead, continuing to appear in several exploitive low-grade productions. Certainly two of her most avidly pursued and readily available would be her contributions to the nunsploitation subgenre – the late Bruno Mattei’s L’ALTRO INFERNO (1980) (THE OTHER HELL) and LA VERA STORIA DELLA MONACA DI MONZA (1980) (THE TRUE STORY OF THE NUN OF MONZA) – the latter of which she has quite a juicy role as a double crossing lesbian nun caught up in blackmail and debauchery (and really, would you expect anything less?). Both films are essential viewing for Montenero completists (if there is such a thing) as two of her finest hours. As I’ve said however, IL MONDO PORNO DI DUE SORELLE features the essential Paola Montenero role.
Unfortunately, her final film is likely to be her most difficult to secure, and also saw Montenero move away from traditional filmmaking and journey into, as far as I know, a one-time trek into performing sexual acts in hardcore porn territory for Lorenzo Onorati’s, DOLCE GOLA (1981). A dirty film even by eighties Italian pornography standards, it is possible that Paola Montenero felt she may have reached her farthest depths and opted for something else in life. Following DOLCE GOLA,information on this most mysterious and maybe even misunderstood actress of left-field cinematic exploits runs dry. A highly intriguing personality, Paola Montenero is a wonderful example of the very different corners that European cult cinema spans. An actress open to exploring the rawest form of her craft who simply may have gotten caught up in a less desirable aspect of the machine. Maybe in her case, vanishing ended up the preferred option.
PAOLA MONTENERO’S SELECTED FILMOGRAPHY
-REAZIONE A CATENA (1971) Dir. Mario Bava / AKA. A BAY OF BLOOD
-RUGANTINO (1973) Dir. Pasquale Festa Campinale
-CALAMO (1975) Dir. Massimo Pirri
-LA TRACCIA VERDE (1975) (mini-series) Dir. Silvio Maestranzi
-L’UOMO DONNA E LA BESTIA (1977) Dir. Alberto Cavallone
-IL MONDO PORNO DI DUE SORELLE (1978) Dir. Franco Rossetti / AKA. EMANUELLE AND JOANNA
-L’ALTRO INFERNO (1980) Dir. Bruno Mattei / AKA. THE OTHER HELL
-ACTION (1980) Dir. Tinto Brass
-LA VERA STORIA DELLA MONACA DI MONZA (1980) Dir. Bruno Mattei / AKA. THE TRUE STORY OF THE NUN OF MONZA
-LA LOCANDA DELLA MALADOLESCENZA (1980) Dir. Marco Sole
THE EURO EYE#3
By the time he had branched out outside of North America and been contracted for co-lead and supporting Special Guest Star roles, respectively, by Italian producers for his first two European film appearances in 1969, former MGM fiery-haired favorite and multi-layered diamond in the acting rough, Van Johnson, was an established American actor of already over two decades and to that point, upwards of eighty pictures (the last of his career would come in 1992). His first two movies shot over in Europe – falling into the category of coined-term, “Euro-cult” – were both handled by above average and capable directors (both of whom – more so Castellari – have developed modest cult followings). The first came courtesy explosive Italian action maestro and son of journeyman director, Marino Girolami – the usually fantastic, Enzo G. Castellari – in the form of his seldom seen, minor war film and well-received precursor to his later, better battle driven, miniature exploding epics – LA BATTAGLIA D’INGHILTERRA (1969) (EAGLES OVER LONDON). Although some cite the picture as one of the best of its kind, Johnson is cast largely against type as a British Air Marshall who aligns himself with the Germans before finding himself in the skies fighting off the advancing nasty Nazi’s. Taking on the role of supporting player in Castellari’s very first war offering, Johnson has the distinction of finding himself the sole American performer in EAGLES OVER LONDON, a few notches below Czechoslovakian-born Italian action regular of the time, Frederick Stafford. Among the list of Van Johnson’s back and forth forays into European film, LA BATTAGLIA D’INGHILTERRA is arguably his most atypical role. Johnson’s depth and versatility as an actor would shine through as very apparent throughout his modest, but respectable body of work in Euro-cult pictures of primarily Italian decent - the same year during his initial stint also portraying the President of the United States in Tonino Valerii’s, IL PREZZO DEL POTERE (1969) (THE PRICE OF POWER). An approach and attempt at his own vision of one of the events that changed the course of history – the assassination of John F. Kennedy – Valerii’s political western has remained much wanted and regarded by enthusiasts of the genre, with Johnson appearing briefly, but effectively in the role of President James Garfield. Albeit scant - Johnson’s position in the film as a figure of high authority protecting the rights of the poor, lower-class black man, resulting in his subsequent post-Civil War murder, is quite possibly the most important of his Italian cinema contributions. The significance of the part would without question maintain its power over anything to follow from Van’s subsequent Euro-canon.
far as I can assess, is mainly due to its piss poor release history and print variants – most of which trim it to the point of making it appear much less a movie, and more a cut and pasted, muddled mess. Known in many circles as THE SCORPION WITH TWO TAILS, this is by far one of Van Johnson’s most neglected Italian pictures and least cited roles. It certainly marks the only occasion in which Van’s character is caught up in the illicit drug trade – thus if anything, especially making it uniquely opposite from much of the former Hollywood golden boy’s previous work. The absolutely fantastic news for fans, collectors, and most importantly, those seeking out some of these must have titles from Van’s somewhat enigmatic period in European productions (which continued on and off for twenty years), is that as of this writing, Martino’s MURDER IN AN ETRUSCAN CEMETERY is set to hit DVD for the first time ever in it’s absolute uncut form (as THE SCORPION WITH TWO TALES), presented letterboxed with scenes included from the extended television version, as well as deleted scenes, alternate openings, etc. This is tremendous news for fans of Van Johnson looking to check into this forgotten title, perhaps not deservedly trashed the way it has been over the years, as maybe this DVD (from MYA Communication) will serve to prove. Curious to know what Van himself felt about this one.
With five plus decades of all manner of on screen entertainment under his belt, over 120 movie and television roles to his credit, on top of hit stops on Broadway and various other onstage performances to be proud of as years passed – not to mention a 1976 Emmy nomination and a star on the Hollywood Walk of Fame - Van Johnson had truly done it all. Indeed so true, as avid followers of all that is European cult cinema are also honored and privileged to have had him grace their neck of the woods in a good handful of pictures that one would not have expected the likes of Van Johnson to pop up in. Although some of these Italy based acting choices may have been out of necessity for him personally, Van was clearly an identifiable presence to European audiences , in turn encouraging producers from overseas to petition for his most worthy time and talents. From day one, Van Johnson was a solid class act all around, with his charming charisma and studious delivery.
An incredibly fascinating, yet also largely obscure actress who seemed to have somewhat of a “specialty career” in the Italian cinema of the seventies and early eighties, Paola Montenero – as is the case with similar female Euro-cult performers of the time – has become something of an anomaly today. She first gained notice in her formative years as a photo model and contortionist leading up to her initial appearance in film.
being her dissolving marriage to Pirri – which in all likelihood ended up strained along with the drug use to the point where it was no longer salvageable. Some have even speculated that Massimo Pirri’s 1980 junkie exposé, EROINA (THE TUNNEL), starring Helmut Berger and Corrine Clery, is in some ways a nod to his own troubled relationship with Montenero. In site of this, Paola Montenero moved ahead, continuing to appear in several exploitive low-grade productions. Certainly two of her most avidly pursued and readily available would be her contributions to the nunsploitation subgenre – the late Bruno Mattei’s L’ALTRO INFERNO (1980) (THE OTHER HELL) and LA VERA STORIA DELLA MONACA DI MONZA (1980) (THE TRUE STORY OF THE NUN OF MONZA) – the latter of which she has quite a juicy role as a double crossing lesbian nun caught up in blackmail and debauchery (and really, would you expect anything less?). Both films are essential viewing for Montenero completists (if there is such a thing) as two of her finest hours. As I’ve said however, IL MONDO PORNO DI DUE SORELLE features the essential Paola Montenero role.
