Arrow Books. P/B. 91 Pages. ISBNs 0993306063 / 978-0993306068.
I’ve been after this one for a while and finally got my hands on a PDF version (if, indeed, such a thing is possible) through the good offices of the guys and girls at Fetch Publicity.
Kat Ellinger, a commentator and critic who’s proving almost as prolific as Sergio Martino was in his heyday, has gone through all the available material (including our interview and the director’s autobiography Mille Peccati)
to come up with an engagingly sure-footed and wide-ranging introduction to his career, even if (as the author herself concedes) the limitations of her word allocation meant that she couldn’t always delve as deeply into it as she might have liked.
Nevertheless, over and above its usefulness as a primer for curious general readers (their interest possibly piqued by the praise levelled at Martino by Messers. Tarantino and Roth), there’s plenty of stuff in here that might come as news even to those who consider themselves well boned-up on the director… e.g that he participated in his family’s home movie version of Dr Jekyll And Mr Hyde in 1955 (what wouldn’t I give to see that?) and nearly made a movie with (just imagine!) Bruce Lee.
Speaking of boned-up, Ellinger devotes plenty of coverage to Martino’s working relationship with Edwige Fenech and also delves further into his innumerable sexy-comedies than is customary in these things, while acknowledging the near impossibility of viewing many of them. Perhaps Arrow, Shameless, Severin and / or 88 Films might look into acquiring some of these titles for UK release? And while they’re at it, what about Martino’s 1993 TV giallo series Delitti Privati / Private Crimes, whose cast reconvenes the Virgin Wife teaming of Fenech and Ray Lovelock and about which the author writes tantalisingly.
I particularly love the quote in which Fenech avers that she sees no significant distinction between a Bergman film and Guido Malatesta’s Samoa, Queen Of The Jungle (1968), one of her earliest starring vehicles… she obviously appeared in enough issues of my beloved Continental Film Review to absorb its editorial policy.
Ellinger covers Martino’s family background and the sociological / historical context of the various genres he worked in well and in discussing the evolution of the Italian thriller, picks up Michael Mackenzie’s concept of the f-giallo and the m-giallo and takes a run with it. It was also interesting to be reminded of Martino’s comments on how increasing sexual permissiveness and the reaction against it in Italy led him to explicitly and quite self-consciously impose the dreaded “have sex and die” rule in Torso (1973) and to reflect how massively influential that was, five years later, on Halloween (and everything that came after it!)
Here at The House Of Freudstein we pride ourselves on snappy titles (that of this posting refers to the US mis-marketing of Martino’s Island Of The Fishmen, 1979) and Kat clearly does too, on the evidence of chapter headings like “Trembling Cities, Cops In Action” and “Cannibal Slaves, Cyborgs And Other Exciting Stories”. Things are rounded off nicely with a discography, bibliography and index. An original Gilles Vranckx cover doesn’t hurt, either. One minor grouch… a still from Enzo Milione’s The Sister Of Ursula (1978) seems to have gate-crashed the book, or at least my PDF version of it.
I’d dearly love to see this volume on sale in a few more shops. In the meantime, you can get it here. Hopefully the author will find the opportunity, amid her prolific other outpourings, to expand ATCOSM into the door-stopping tome it deserves to be at some point in the future.