Showing posts with label nicoletta elmi. Show all posts
Showing posts with label nicoletta elmi. Show all posts

Friday, June 3, 2011

WHO SAW HER DIE?

(Aldo Lado, 1972)
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Young Roberta Serpieri (Nicoletta Elmi) is sent by her mother Elizabeth (Anita Strindberg) to stay in Venice with her father Franco (George Lazenby), a successful sculptor. Not long after her arrival, Roberta is abducted by an old woman in black while her father is distracted. Her lifeless body is found soon after floating in a canal.
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Grief-stricken, Franco and Elizabeth reunite in Venice, but Franco is too preoccupied with finding his daughter's murderer to pay much attention to his estranged wife. The list of suspects is long, as Franco discovers that many of his acquaintances share a mutual perversion. He then learns that Roberta's murder is similar to that of a young red-haired girl in France years before. As in most gialli, the killer is ahead of Franco's game, and rubs out anyone who holds a clue to her identity.
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Where to begin? Who Saw Her Die is a brutal and somewhat depressing giallo. The subject matter alone is enough to make most viewers cringe, and the juxtaposition of adult sexuality and childish innocence and vulnerability make for some heavy viewing. On the technical side, it's an accomplished film. The cinematography is sharp, and great use is made of the Venice location with its foggy, claustrophobic streets, alleys, and dingy canals.
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The score by Ennio Morricone is hauntingly perfect. The film is also loaded with atmosphere and menace, as several attempts are made on Roberta before she is finally kidnapped. The killer's POV through a black lace veil adds a ghoulish touch to the proceedings. My only real complaint here was a lack of realism in the supposedly distraught parents' reaction to their daughter's death, and the revelation of the killer is pretty cliche. Other than that, it's an engrossing little film. Buy it here.
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Wednesday, November 17, 2010

...But Which Is The Creepiest?

We all know kids are creepy; don't argue, they just are. Former child actors Nicoletta Elmi and Giovanni Frezza, who appeared in a number of Italian horror films in the 70s and 80s respectively, were no exception. Not surprisingly, they both had roles in Lamberto Bava's Demons, after which both retired from acting (Elmi appeared in her last film in 1989). David Colin Jr, who appeared in only two films, still deserves mention as he was one seriously demented-looking kid. Peter Bark (Burial Ground) was disqualified from this contest on the grounds that he was actually an adult in a wig, but still gets a cookie for trying (Mariangela Giordan's got the milk!)

*NICOLETTA ELMI (Born Feb 13, 1964)*
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WHO SAW HER DIE? (Aldo Lado, 1972)
BARON BLOOD (Mario Bava, 1972)
ANDY WARHOL'S FLESH FOR FRANKENSTEIN (Paul Morrissey / Antonio Margheriti, 1973)
FOOTPRINTS ON THE MOON (Luigi Bazzoni, 1975)
DEEP RED (Dario Argento, 1975)
THE CURSED MEDALLION (Massimo Dallamano, 1975)
DEMONS (Lamberto Bava, 1985)

*GIOVANNI FREZZA (Born Sept 8, 1972)*
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THE HOUSE BY THE CEMETERY (Lucio Fulci, 1981)
MANHATTAN BABY (Lucio Fulci, 1982)
A BLADE IN THE DARK (Lamberto Bava, 1983)
DEMONS (Lamberto Bava, 1985)

*DAVID COLIN JR (Born July 1970)*
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BEYOND THE DOOR (Ovidio G Assonitis/ Robert Barrett, 1974)
SHOCK (Mario Bava, 1977)

*PETER BARK (Born 1955 or thereabouts, according to IMDB)*
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Wednesday, June 2, 2010

DEMONS

(Lamberto Bava, 1985)
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Classic!
A must-see for horror fans in general. Demons is a fast-paced, candy-colored nightmare with a good dose of action, cheese, and gore.
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From a stranger in a mask Cheryl (Natasha Hovey) receives two tickets to the Metropol, a gloomy church-like movie theater with walled-off rooms and perpetually leaky ceilings. She and pal Kathy decide to be naughty and go, a decision they soon regret. In the lobby we are introduced to an odd assortment of characters. First there's George and Ken (who picks these names??), who hook up with Cheryl and Kathy. We also have a bickering middle-aged couple, a young couple who mostly make out (the female half being Fiore Argento), the usher (a grown-up Nicoletta Elmi), and a blind man and his unfaithful daughter. Plus fodder. Lots of fodder. There's also switchblade-wielding pimp Tony (Bobby Rhodes) and his two favorite gals, one of whom (Rosemary) is unfortunate enough to scratch her face while trying to scare her coworker with a silver demon mask in the lobby.
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The audience settles in to watch the film - a horror film, surprisingly. In it a guy tries on a demon mask found in the grave of Nostradamus(?), then becomes possessed and starts killing off his friends. Rosemary freaks out about the similar cut on her face and runs to the bathroom to check it out. There we are treated to the sloppy, gruesome sight of a giant lump bursting out of her cheek. Tony gets worried when she doesn't come back, so he sends her friend to check on her. This is where it starts to get good. Long story short, the theater is soon overrun with demons, and all of the exits have been mysteriously walled-over. I won't give the rest away, as it only gets zanier and gorier as it progresses.
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The combined effort of Lamberto Bava, Dario Argento, and Dardano Sacchetti produced something truly unique and special. True, the dialogue is horrible, but that's to be expected. Also true is the complete lack of realism, but I feel this adds to the funhouse feel of the film. Once the two hookers become demons, the action never lets up. Throats are ripped open, eyes are gouged, hair is ripped out. Towards the end the motorcycle and samurai sword from the lobby are put to good use in a sequence one must see to believe. And our protagonists are saved by a VERY unlikely event that will make you skip back just to verify that they actually put it in the film!
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The Verdict

Cons:
Misplaced subplot concerning a bunch of cokeheads cruising in a stolen car
Far too many pointless random occurrences: the demon bursting out of someone's back, the walled-off room, the women all standing in a circle screaming, and the highly unlikely savior at the end
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Pros:
Non-stop action and energy; extremely graphic latex effects (slightly dated, but still good)
Oodles of style - it's obvious Dario had a hand in the lighting and set design
Loads of blood and bile
A fun story that's clever at times and has sympathetic lead characters
Rockin' soundtrack and original score by Claudio Simonetti
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Buy It!

Saturday, February 13, 2010

THE NIGHT CHILD aka The Cursed Medallion

(Massimo Dallamano, 1975)
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Another personal favorite here.
I must begin by stressing that no matter what you may have heard about this being an Exorcist or Omen rip-off, it is NOT. Possession and the Devil were very popular topics at the time (thanks to aforementioned fright flicks) and Italy had its share of REAL knock-offs (Beyond the Door, The Antichrist, The Eerie Midnight Horror Show), but this isn't one of them!
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Richard Johnson plays Michael Williams, who is filming a special on diabolic art for the BBC. One frightening painting in his slide collection fascinates him, and he decides he wants to see the original. Before going he gifts an old medallion to his daughter Emily (Nicoletta Elmi), who then has nightmares of being hunted by torch and pitchfork- wielding peasants. Their doctor recommends Michael take his daughter with him on his trip to locate the painting as it might do them some good to get away together (with the new wife and nanny in tow).
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Emily's bad behavior and nightmares increase the closer Michael gets to discovering the meaning of the painting, as do other supernatural occurrences. Only when the nanny "accidentally" dies does Michael consider the possibility that something sinister may be working through his daughter.
Anyone expecting lewd and vulgar possession mayhem should steer clear of this. It is a beautiful, slow moving film with breathtaking photography, locations, and music by Stelvio Cipriani. The scares are subtle, and may not register with some viewers the first time through. It is well-written, filled with symbolism, and has no cheap "fright" scenes to spoil the mood. Like any truly creepy film should, it builds to a shocking climax and has a downbeat ending.
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The actual scary bits and flashbacks do have a slight *hint* of The Omen taste, but with a much sunnier look to counterbalance all the shadowy scenes. If you made it through (and liked) Aliprandi's A Whisper in the Dark, this might be right up your alley.