Posts Tagged With: Henry Silva

“There were never any problems with Edwige”… The BARBARA BOUCHET Interview.

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I tend to be more awe-struck in the presence of my musical idols than around film folk. Perhaps I’ll bore you some other time with my theory about why this might be. I did feel rather star struck on the occasions I was introduced to Dario Argento and Lucio Fulci, though the latter (after a wicked leg pull) took trouble to put me at my ease. The last time I encountered this pesky emotion was on the 21st September 2013 at Manchester’s ever-wonderful Festival Of Fantastic Films, when I was knocking on the door of Barbara Bouchet’s hotel room to arrange an interview. Why this rare attack of bashfulness? Was I expecting to find her sunbathing naked, as in Fulci’s Don’t Torture A Duckling (1972)? Maybe just hoping…

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… maybe it was because BB is so palpably a film star. Don’t get me wrong, during the hour or so that we talked Barbara didn’t for one moment act the star / act up. She just exudes that certain je ne sais quoi… and there’s a certain laser focused, business-like steel beneath the impeccably groomed exterior, which there probably needed to be for her to survive the upheavals of her early life.

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The interview from which the following passages are excerpted originally appeared in its entirety in Dark Side magazine #156 at the end of 2013, which you might well want to check out. At the point where these selection kick in, the former Barbel Goutscher had made a promising start in Hollywood (winning a Gidget lookalike competition and snogging Captain Kirk in the Star Trek episode By Any Other Name) before things stalled after a run in with notorious martinet Otto Preminger, for whom she’d signed a seven year contract. Sticking to her guns, she was released from that (“maybe he did me a favour because we were both East European emigrés”) and attempted to pick up some career momentum in Europe. First she tried for a part in Antonioni’s Blow Up (1966)…

I flew from Paris to London at very short notice because he was there looking for girls for Blow Up and wanted to see me but when I arrived he told me: “I’m much too tired to see you, come back tomorrow”. You can imagine how I reacted to that. At the same time Charley Feldman had been pursuing me so I contacted him in preference to Mr Antonioni and suddenly I was in a new seven year contract, beginning with Casino Royale.

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With Sharon Tate at The Playboy Club in London, 1966.

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Your first significant role in Italy was in Paolo Cavara’s 1971 giallo The Black Belly Of The Tarantula (above). Cavara was previously known as a maker of Mondo documentaries and I wondered if this was apparent from his handling of actors in a dramatic context…

There were no problems with Paolo and he got good performances out of everybody.

He certainly did… it’s your antics in the memorable massage parlour opening scene that set the maniac off on his kill-spree and you become his first victim… it’s been said that you get killed off early in so many of your giallo roles because you always had to run off and start another picture…

Is that what they say? (Laughs)

You do get a more substantial role in Silvio Amadio’s Alla Ricera Del Piacere, a film with a very decadent atmosphere in which you starred with Farley Granger and Rosalba Nera…

You mean Amuck?

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Yeah, it was released under the usual variety of titles. That one is remembered for your lesbian love scene with Rosalba Neri, which I gather was received with great controversy in its day…

Oh yes, to the Italians it was quite scandalous! Whereas I had grown up with a large family in a small house, everybody was very casual about nakedness so it was no big deal to me. The Italians did get very excited about it, though. (Can’t honestly claim that I didn’t – Bobby F)

Another scene that you did which caused a bit of a commotion was the one in which you’re naked and taunting an adolescent boy in Fulci’s Don’t Torture A Duckling…

Yes, Fulci was taken to court over that!

He was always being taken to court… and he always walked.

Yes, he did this time too because we were able to prove that when you saw the back of the child, who was looking at me, it wasn’t actually a child – it was a dwarf. And of course when you see the face of the child who’s talking to me, he’s not looking at me, he’s looking at a blank wall.

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It’s amazing that the prosecutors could have shown such an elementary lack of cinematic savvy… did your nude and sexy scenes ever cause any grief for you with your family?

Well, these films didn’t tend to play in The States, where they were living…

… maybe in the kind of grind houses that your parents wouldn’t have frequented.

They did cause some problems for my sons in Italy, they got into fights with their classmates who said that they’d seen me naked in sexy magazines, like some of the ones I signed for you earlier. I decided to move them out of the house so as not to upset my sons, but I left the suitcase outside my house for one minute and when I came back it had been stolen. So I think when the thief opened it, he would have been disappointed.

Quite the opposite, I would have thought…

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I told my sons that if anybody teased them about their mother being in sexy films and magazines, they should reply that I was in them because  I was beautiful, but their mothers couldn’t do that because they were fat, old hags! They liked that. As I said, acting these roles is no big deal for me. There are just two films that I turned down because I thought they were too much. One was Just Jaeckin’s The Story Of O and the other was one of Tinto Brass’s pictures…

Salon Kitty?

I don’t remember which one it was, but I didn’t want to do that kind of film.

I was wondering if a multi-lingual actor such as yourself found it frustrating to have to re-dub your dialogue in post production, as is the Italian way?

Well of course, the first time you’re told not to worry about your lines but just to count “one, two, three, four.”.. because it’s all going to be re-dubbed later… that does take a bit of getting used to. When I later made films outside of Italy it came as an equal shock that you were acting and you couldn’t hear traffic noises or the sound of technicians talking on the set.

Whenever fans talk about gialli and Italian sexy comedies, the names of two actresses always come up – yourself and Edwige Fenech. What are your memories of La Fenech?

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(Smiles) We only appeared together in one movie, you know? (Hm, I think there were a couple more than that – Bobby F). When they wanted a blonde they would call me, when they wanted a brunette it was Edwige and there were other girls who could fill these roles if we were not available for a movie. The press are always trying to get an angle, to make a story, you know, so they wanted us to be rivals but it was all stupid, there were never any problems with Edwige.

You never appeared in any of the excellent gialli directed by Sergio Martino…

… but I appeared in sexy comedies that he directed, which were produced by his brother Luciano, the lover of Edwige.

You also appeared in two movies by Antonio Margheriti… he was revered as a technical director and in Bed Of A Thousand Pleasures he had you making love to an invisible man and to another guy on a flying carpet… memorable stuff!

You say that but I can’t remember any of it!

Maybe you remember Death Rage, the other film you made with Margheriti, a little better… it’s rumoured that you didn’t get on too well with your co-star, Yul Brynner…

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I certainly remember that I hated how horribly rude he was to the make-up girls and other people who were there trying to look after him, so when I found out that he was superstitious about chrysanthemums I sent him a beautiful big bunch of them.

These movie tough guys are all big girls’ blouses… another one in which you die very early was Fernando Merighi’s Casa D’Appuntamento aka The Bogey Man And The French Murders… what was going on in that one with the pointless Humphrey Bogart lookalike and everything?

I don’t know what the point of that was. You know what? I don’t watch a lot of my films… was that one shot in Germany?

The Red Queen Kills Seven Times was shot in Germany. You keep seeing shots of the Eiffel Tower in Merighi’s film, but who knows? It looked a bit thrown together.

That’s how some of them were.

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In one of your earliest giallo roles, for Alberto De Martino’s The Man With Icy Eyes, your character is described by another as “the kind of broad who’ll do anything for money” and you did go onto perfect the role of the femme fatale who’s irresistible to men but has her own evil or at least ambiguous agenda.

Yeah, but it’s fun to do these roles because they’re the exact opposite of how I am in real life.

Your characters have taken some terrible beatings from the men they’ve wronged. You’re treated particularly violently by Henry Silva in Andrea Bianchi’s mafia epic The Ones Who Count aka Cry Of A Prostitute…

Ugh! (Shivers) That was unpleasant… I didn’t remember it being that unpleasant when we made it. In fact I prefer not to remember too much about that one. When Quentin Tarantino arranged a screening of some of my movies in LA he opened with that one and I wish he hadn’t…

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Henry Silva was one mean screen mo-fo but I gather he was a sweetheart in real life…

He was a lovely man but with that face he was always going to be cast as the bad guy… what a face! Cheek bones like razor blades…

In some of your films, including that one, you’re the bad girl who “gets her comeuppance” but I think Don’t Torture A Duckling features one of your best roles and performances because you start off as this snotty rich bitch but Fulci develops your character to the point where, by the end of the film, you’re really sympathetic.

Yes, it’s the actress’s craft to bring these things out…

… which you do so well in that film and your relationship with Tomas Milian’s character develops accordingly.

Tomas was alright but at that time he was very into his relationship with Irene Papas…

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Fulci had a bit of a reputation as a tyrant and a misogynist on set…

On Don’t Torture The Duckling (sic)? Yes, I have heard this but he never showed that side of himself to me. He was very focussed on getting the movie made, yes, but we got on just fine.

Your “manipulative bitch” character is brought to perfection in Fernando Di Leo’s definitive Italian noir, Milan Calibre 9. Di Leo also had a bit of a hard ass, misogynistic reputation… did you see anything of this?

Di Leo was absolutely fine with me. A misogynist? In fact I discovered after his death that he had been quite a lady’s man.

Sometimes the two go together. It’s often said that the deregulation of Italian TV killed the Italian film industry, but you kept working with your TV health and beauty show…

Yes… I saw what happened to Sylva Koscina, an East European actress like me (she came from Yugoslavia). She was of the generation just before me and when she reached a certain age, the roles dried up. She took it very badly and she died very young. So I said to myself, am I going to let that happen to me? Oh no! So I stopped doing films round about the time of Sergio Martino’s Spaghetti At Midnight in 1978 and devoted some time to bringing up my family.

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My mother took me to a psychic in Arizona who predicted that I would go to work in television and I said no way. I had no intention of doing that but as soon as I stepped off the plane back in Italy, Berlusconi’s people offered me a pilot, then a TV series. It was based in a health spa because I have always looked after myself, kept in shape, eaten the right food and taken vitamins and so on. I had my own health business and I told them it would have to be plugged in every episode of the TV series. I was resolved to make it work for my benefit.

Good for you. Speaking of plugging, why is everybody in your movies always furiously knocking back bottles of J&B? Sometimes the screen is almost filled with stacked-up cases of the stuff…

Well in those days, you know, you could partially finance the movie with these product placements, so there was Coca Cola all over the place and yes, J&B. But then the Italian government brought in a law that you couldn’t do this anymore.

Killjoys! Just for old time’s sake, why don’t we …

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No Orchids For Marilù… the Shameless Blu-Ray of Umberto Lenzi’s ALMOST HUMAN Reviewed

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BD. Region B. Shameless. 18.

As well as fascists, ultra-leftists, fascists posing as ultra-leftists and ultra-leftists posing as fascists, Italy’s “years of lead” (the violent ’70s, give-or-take) were stoked by disgruntled southern peasants who’s been drawn to the northern cities by the promise of the Italian “economic miracle”, only to turn to crime after finding the streets paved with shit rather than gold. In one of this disc’s bonus interviews, Milano Odia: La Polizia Non Puo’ Sparare (original Italian title) director Umberto Lenzi posits another explanation for this chaotic decade, namely that it was French criminals who brought kidnapping, drug dealing, bank robbing, et al, to Italy… an improbable claim but one that also surfaces in Enzo Castellari’s seminal Poliziotteschi effort High Crime aka The Marseilles Connection (1973) and Contraband, Luci Fulci’s late (1980) entry in the cycle, the latter of which panders to a romantic conception of the mafia’s origins as a patriotic opposition to the Napoleonic occupation of Italy. Almost Human (1974) is not a mafia movie (though Lenzi made plenty of those) and its protagonist is not mobbed up, nor is he any kind of a heroic patriot… Giulio Sacchi (Tomas Milian in top, scenery-chewing form) is part of the aforementioned economic flotsam and jetsam… he’s a snivelling psychopath with a chip on each soldier and a burning desire to strike back at everybody who’s responsible for his personal and social inadequacy, i.e. everybody but himself!

The action starts with Giulio fouling up a bank heist by shooting a cop who merely wanted to write him a parking ticket (his trigger-happiness will be a recurring motif throughout this film.) Beaten up and called “a shit head” by local Mister Big Ugo Majone (Luciano Catenacci) and his boys, Giulio resolves to prove them wrong and join the criminal super league. As explained to impressionable stooges Vittorio (Gino Santercole) and Carmine (a nicely nuanced Ray Lovelock), his master plan includes the kidnapping of Marilù (Laura Belli), the daughter of rich industrialist Porrini (Guido Alberti.) After they’ve pocketed the ransom they’ll kill her anyway to cover their tracks. “Listen, there’s only one thing that matters…”, Giulio insists: “… either you’ve got a load of money and you’re somebody cool, or you haven’t got a place to pee!”

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The kidnap is eventually effected with the connivance of Giulio’s long-suffering girlfriend Iona (Anita Strindberg)… boy is he punching above his weight here, but Iona’s hung up on this bit of rough and that’s all there is to it. After her boyfriend has been gunned down, Marilù tries to seek refuge in the home of a bourgeois family who are sexually assaulted, strung from the light fittings and machine-gunned for their trouble. Carmine, who had initially experienced cold feet, participates enthusiastically in all this carnage after Giulo has plied him with pills.

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Giulio ties up an irksome loose end by sending Iona’s car to the bottom of Lake Cuomo, with her in it. investigating this rum series of events, Commissario Walter Grandi (Henry Silva) notices that one guy keeps cropping up again and again and finally it clicks that Giulio was the guy taunting him at the scene of a cop stabbing. “I’m interested in this man..” he tells his superior, in a telling turn of phrase that suggests Grandi’s personal affinities with his quarry: “… he’s a psychopath!” Takes one to know one, I guess, but the law requires something more solid than the strong circumstantial case he is building. In the words of the title… “Milan Hates: The Police Aren’t Allowed To Shoot” But we are talking about Henry Silva here…

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Grandi is literally hobbled as the climax to the kidnapping drama plays out. Having shot the ill-fated Marilù and both of his accomplices, Giulio unloads a clip into the Commissario’s leg before disappearing with the ransom money. Later he’s sitting at a sidewalk café in his expensive new threads, sipping “French champagne” and trying to recruit a new crew of dead beats when Grandi, walking with the aid of a stick, turns up and shoots his way through the legalistic Gordian knot. “Call the chief and tell him that ex-detective Grandi just killed a murderer”, Dirty Henry tells a gob smacked copper. Giulio expires, appropriately enough, atop a pile of garbage.

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Producer Luciano Martino’s in-house writer Ernesto Gastaldi (better known as a giallo specialist) penned this hard-hearted effort in accordance with Lenzi’s obvious love for the likes of Mervyn Leroy’s Little Caesar, William Wellman’s Public Enemy (both 1931) and Howard Hawks’ Scarface (1932.) Its story owes another obvious debt to No Orchids For Miss Blandish, the 1939 James Hadley Chase novel  filmed under that title by St. John L. Clowes in 1948 and as The Grissom Gang by Robert Aldrich, just three years before Lenzi lensed Milano Odia: La Polizia Non Puo’ Sparare… he lensed most of it, anyway. The edge-of-your-seat car chases sequence, orchestrated by the legendary Rémy Julienne, has been cut in by the cost conscious Martino from the previous year’s The Violent Proefessionals, directed by his kid brother Sergio. This would be the first of many times that Julienne’s footage got recycled in various crime slime epics… hope he was remunerated every time rather than accepting a flat payment (though I rather doubt it!) All of this kick-ass action is nicely complimented by a downbeat Morricone score with a memorably staccato main theme.

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Of the significant bonus material on this disc, the featurettes Like A Beast… Almost (interviews with Lenzi, Lovelock, Gastaldi and Santercole) and Milian Unleashed (an audience with the film’s charismatic star) will be familiar to anyone who invested in the No Shame DVD release back in the noughties and the latter has already appeared on Shameless’s own DVD release of Almost Human. Pride of place goes to a new Umberto Lenzi interview, in which the grumpy old man of Italian genre cinema is on vintage form. He talks animatedly about how that cinema drew its inspiration from successful American models and – while remaining infra dig with the intelligentsia –  effectively bank rolled the Arthouse efforts of Fellini, Antonioni, Bertolucci, et al. He moans about Kathryn Bigelow pinching his President-masked bank robbers and Sergio Martino stealing his favourite editor (Eugenio Alabiso.) Amusing (sort of) anecdotes include how film noir icon Richard Conte missed the first day of shooting because he died, obliging Lenzi to recruit Silva at short notice in what turned out (with apologies to Conte’s nearest and dearest) to be a masterpiece of serendipitous casting.

Lenzi ‘fesses up re his reputation of being a hard ass with actors but contends that if you don’t impose your will upon them, the shoot is going to hell in hand cart. His memories of working with Milian (on several pictures… he compares the relationship to that between Werner Herzog and Klaus Kinski) are particularly compelling. Apparently the actor used to drive him mad by improvising while the camera was rolling, though Lenzi is big enough to admit that these unsolicited contributions were sometimes inspired. More alarmingly,  he reveals that Milian’s method acting approach prompted him to hit the pharmaceuticals pretty hard in his attempts to clinch the character of Giulio’s Little Casar. We at The House Of Freudstein are reminded of Laurence Olivier’s advice to Dustin Hoffman on the set of Marathon Man (1976)…

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presented in HD, Almost Human looks almost totally marvellous,  though pronounced grain in certain shots (a few obvious second unit cutaways) are the price we have to pay for such technical advances. It’s an imperfect world, made even more so by the recent passing of Tomas Milian. This Shameless release serves as a timely tribute to an enormous talent, showcased in a role that is, even by his less than sedate standards, truly demented.

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Stay tuned to this frequency for further bulletins from our roving Crime Slime reporter…

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