Italian Horror Film Directors
Format: PDF / Kindle (mobi) / ePub
There is no cinema with such effect as that of the hallucinatory Italian horror film. From Riccardo Freda's I Vampiri in 1956 to Il Cartaio in 2004, this work recounts the origins of the genre, celebrates at length ten of its auteurs, and discusses the noteworthy films of many others associated with the genre. The directors discussed in detail are Dario Argento, Lamberto Bava, Mario Bava, Ruggero Deodato, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccesi, Bruno Mattei, and Michele Soavi. Each chapter includes a biography, a detailed career account, discussion of influences both literary and cinematic, commentary on the films, with plots and production details, and an exhaustive filmography. A second section contains short discussions and selected filmographies of other important horror directors. The work concludes with a chapter on the future of Italian horror and an appendix of important horror films by directors other than the 50 profiled. Stills, posters, and behind-the-scenes shots illustrate the book.
outright old-fashioned monster movie that hides the fact that it’s based on a number of low-budget yet superior American (The Blob) and British (Quatermass II, X the Unknown) films by becoming a grand adventure, highlighted by moments of sadistic pleasure: the mad, lecherous German character, infected by Caltiki, the scantily clad heroines, constantly in danger of losing their costumes, Caltiki graphically searing the flesh of victims. L’Orribile Segreto del Dr. Hichcock, one of Freda’s better
Argento, based on the novel The Screaming Mimi by Frederic Brown, and erroneously based on an unsourced novel by Bryan Edgar Wallace (sometimes credited in advertising); C: Vittorio Storaro; M: Ennio Morricone; S: Tony Musante, Suzy Kendall, Enrico Maria Salerno, Umberto Raho, Eva Renzi, Mario Adorf, Renato Romano, Werner Peters, Raf Valenti. * * * Lamberto Bava * * * Lamberto Bava was born in Rome, Italy, on April 3, 1944. He was born into a family where the males had worked
Runner (1988), and a sword-and-sandal fantasy film inspired by the success of the American Conan films, titled I Barbari e Co. Un Delitto Poco Comune (1988) is a more assured work than Deodato had made in many years. The film is a horror tale inspired by the Hammer film, The Man Who Could Cheat Death (1959) and, equally, the giallo thrillers of Dario Argento. While the international cast (featuring Michael York, Donald Pleasence and Edwige Fenech) work well within the confines of the script, the
pleasure in tormenting his guests and embalming the women as statues, is an uneven and uninvolving affair despite occasional moments of pure delirium. Camillo Mastrocinque’s La Cripta e l’Incubo (1964) was, at the time of its release, the third version of Irish author Sheridan LeFanu’s Carmilla on record. The film, a co-production with Spain’s Hispamer Films, is peopled by a cast of uninteresting actors except for Christopher Lee as the family patriarch, concerned about an ancestral curse, a
dalle Morte was any indication, maybe the genre just did not interest him any more, although his sex thriller Sul Filo del Rasio (1992) indicated that he was still more fascinated by sexual situations and their depictions on-screen than indulging in the conventions of the thriller genre. Fans of Massaccesi can have a field day trying to track down all of the director’s films that appear in his filmography and then some, due to his use of numerous pseudonyms. Among the aliases most often used by