Severin have always been generous with their bonus materials but here, like that ambassador dishing out the ferrero rocher at his embassy reception – possibly the very one attended by Edwige Fenech’s Julie Wardh in Sergio Martino’s The Strange Vice Of Mrs Wardh (1971) – they are positively spoiling us! Their “All The Colours” sets, available singly at the links above and as a (getting rarer by the minute) box set, were only issued in January but, taken together, constitute what can already be confidently acknowledged as the release of 2019 (and if I’m wrong, cool, because it means that something very special is on its way during the next several months…)
You’re already going to be familiar with the plot of All The Colors Of The Dark (1972) from earlier editions of it that have been reviewed on this blog… and if not, why not?!? If you do need to get up to speed though, take a look here and / or here). Suffice to say, Martino’s third giallo is a bewitching fusion of that genre’s conventions and Rosemary’s Baby-patented Satanic panic, which consistently undercuts audience (and indeed, at the death, its own) expectations… with the divine Edwige Fenech fulfilling her quota of soapy shower scenes, for good measure.
ATCOTD now looks and sounds every bit as good as you’d expect from a Severin release, though I’m still longing for a surround sound mix of Bruno Nicolai’s memorable score, particularly that Sabbat theme, which the Marketing-Film DVD (as “Die Farben Der Nacht”) only offers on its German language track, necessitating more viewer fidgeting than during Fenech’s ablutions. Bonus materials include a somewhat less pristine looking print of the alternative US cut, retitled They’re Coming To Get You and shorn of several minutes so that distributors Independent-International (whom we’ll shortly be looking at in connection with Severin’s comparably nifty Blood Island Collection) could more easily shoehorn it into grindhouse and drive in double bills. This they managed by substituting a short passage of lame “spooky” graphics for the original’s “long day’s journey into night” intro and 99% of Martino’s subsequent carefully contrived, surrealistically nightmarish sequence. Needless to say, Fenech’s post-nightmare trip to the bathroom is present and politically incorrect…
There’s a nice bonus interview with director Martino, who renders a comprehensive A-Z of ATCOTD… a real “soup to nuts” job. He also reflects on Fenech’s long-standing reticence in talking about these movies (“For a woman, it’s embarrassing to admit that she was exploited for the public. Today, she’s a lady”) and expresses a particular fondness for All The Colors, on account of his second daughter being conceived during location scouting for it. He pays sad tribute to his late producer brother Luciano (“I was the mind and he was the arm”) and talks fondly of his prolific favoured screenwriter, Ernesto Gastaldi: “Now that we are both old, we lick the wounds of our old age together”.
In his interview, Gastaldi returns the compliments to Martino (“We are the last of the Mohicans!”) while suggesting that Martino had more mixed feelings about working for his brother than he generally lets on. As for Gastaldi’s own relationship with the producer: “Luciano was a strange friend… he never paid me much!”
Gastaldi states that his intention with ATCOTD was to debunk the supernatural (though the finished film concludes a lot more ambiguously than that) and complains that he never wrote any of the shower scenes with which Fenech’s films are littered. He found the Queen of Giallo “cold… I’m not saying I wouldn’t have touched her with a stick or anything!” The interview is also noteworthy for Gastaldi’s touching tribute to the memory of Antonio Margheriti.
Fenech’s frequent leading man, George Hilton, is also interviewed, with useful interjections from Italy’s top home-grown genre pundit, Antonio Tentori. Kat Ellinger (author of All The Colors of Sergio Martino) supplies a commentary track to the main feature which, she admits, is anything but unbiased. There’s never any dead air on an Ellinger commentary.
You get a bunch of trailers and TV spots too, plus (if you bag one of the first 2,500 copies) a very welcome CD of Bruno Nicolai’s score, which I’ve coveted for so long that I think it’s one of the things you’re admonished not to covet in The Ten Commandments.
If that little lot has got you in a yellow mood, prepare yourself for the second sub-set in this box, All The Colors Of Giallo. On disc 1, a new feature-length documentary of that title by Federico Caddeo gives a domestic perspective on this most enduring of Italian exports via a plethora of interviews… some of them recent, some that you’ll be familiar with from previous releases. The big five giallo directors are covered by interviews with Argento (who talks about how close The Bird With The Crystal Plumage came to box office oblivion on its original Italian release), Lamberto Bava (representing and remembering his father Mario), Martino (who claims to have experienced no sexual frisson from his frequent proximity to the naked Edwige Fenech… if you say so, Sergio), the ever-pugnacious Umberto Lenzi and (in an audio interview, on predictably coruscating form), Lucio Fulci. Luciano Ercoli also gets his say, alongside the most prolific giallo scripter of all, the indefatigable Ernesto Gastaldi. There are contributions from staple actor George Hilton (who describes the longevity of these movies as “a beautiful surprise”) and some of the genre’s glamorous female stars, including Edwige Fenech (during the short-lived period when Quentin Tarantino’s endorsements emboldened her to talk about her exploitation credits), Barbara Bouchet, Daria Nicolodi and Nieves Navarro / “Susan Scott”.
Tied together with the observations of film historian Fabio Melelli (“The Argento of today is a very different director from the one he one was”… no foolin’, Fabio!), this doc takes a bit of a scatter gun approach, though often hitting the target square on. I mean, do you really want to hear Bouchet dishing the dirt on who shagged whom during the making of Don’t Torture A Duckling? “Is a bear a Catholic?”, I can almost hear my incredulous readers shouting at their screens: “Does The Pope shit in the woods?!?”
In an interesting sideline, Melelli suggests that Italian censors couldn’t be too strict on gialli / horror after the stuff that they’d permitted Pasolini as “a serious artist” … a double standard the British establishment has never had any problems sustaining.
Before you’ve had a chance to catch your breath (or don a pair of shades to protect your eyes from his Op Art shirt), erstwhile Giallo Pages editor John Martin is presenting a 20 minute overview of the genre in which he doesn’t come across as too much of a dick. Kudos to editor Zach Carter for that. David Flint directs.
The ensuing Giallothon comprises 4 hours (I kid you not!) of trailers for Italian slashers… the 82 coming attractions, of varying provenance and spankiness, might provoke debate about what should have been in there and what could comfortably have been left out, but that’s half the genre-defining beauty of it. You might even discover a couple of titles you’ve yet to catch up with.
Kat Ellinger pops up again, here deploying her extensive knowledge of the genre to rattle off a sustained series of capsule commentaries on each of the titles represented in this collection. Why is it that Italian giallo trailers are invariably more psychedelic than trailers for Italian acid movies? The one which compares Curse Of The Scorpion’s Tail, another Martino effort, to Bunuel, Eisenstein, et al, is a strong contender for the most enjoyably wacky selection here but that for Silvio Amadio’s Amuck is another bona fide hoot. Then, of course, there’s Lenzi’s “Spasmo… SPASMO… SPASMO!!!“
Disc 2 takes us over the Alps into Germany for film historian Marcus Stiglegger’s investigation of that country’s krimi genre and its mutually influential relationship with its little Latin cousin, the giallo. This sets up another trailerthon in the shape of Kriminal!, 90 minutes of coming attractions for the cinematic offspring of Edgar Wallace’s interminable scribblings.
If your interest is sufficiently piqued by that, you might well want to seek out Universum Film’s gargantuan 33 krimi DVD box set. If, on the other hand, your eyes are bleeding after taking in all these yellow visuals, you might prefer to sit back in your grooviest chair, freshen your tumbler of J&B, slip those headphones on and enjoy The Strange Sounds Of The Bloodstained Films, a CD selection of musical highlights from the likes of Morricone, Ortolani, Orlandi, Alessandroni, Cipriani, De Massi et al, compiled and remastered from the archives of Beat Records by Alfonso Carillo and Claudio Fuiano. Go on, you’ve earned it…