Posts Tagged With: John Morghen

Slashing Budgets Was His Pleasure… House Of Freudstein Is Proud To Present The FABRIZIO DE ANGELIS Interview

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(This interview was conducted at David Warbeck’s Hampstead pile, The Convent, in 1996.)

How do you remember that remarkable director, Lucio Fulci?

I used him as director for four or five pictures by my production company, Fulvia. I went around the world with Lucio, a fantastic man and a fantastic director. He has become an increasingly popular director, but I think many people still don’t realise how good he was. Although Lucio only made “B” pictures, he was one of the ten best directors in Italy.

The timing of his death was so sad, because he was about to undergo this major critical re-appraisal… books are being written about him, he was about to collaborate on a film with Dario Argento…

Fulci was the best director, not only for horror, but also for adventure, comedy… whatever: a complete director, better even than Argento. The master is Fulci. Argento comes after him, and so do all the other Italian directors. Fulci is the teacher for all.

Did you have any problems with Argento, the producer of Dawn Of The Dead aka Zombi, when you brought out Zombi 2 aka Zombie Flesh Eaters?

Yes, we had problems, we had to go into court with our lawyers against the lawyers of Dario Argento, over the title. We won because we were able to prove that the legend of zombies has existed for years, it cannot be copyrighted.

You first met Fulci when you were both working for the producer Edmondo Amati?

Yes, Amati was my master, I worked as his production manager for three or four years. I think I made ten or twelve pictures with him as executive producer. Later I started to produce myself, after I left Fida, but I still have a very good relationship with Amati. Anyway, in this time I met Fulci, who was making pictures like Lizard In A Woman’s Skin for Fida, and when I was about to make Zombi 2, I decided to call Fulci to direct it, because at that time he was very down: after Zombi 2 he was up again, he was doing very well.

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At one point I gather you were considering Enzo Castellari to direct Zombi 2…

This is true, Originally we called Castellari, later we decided on Fulci. This is the real  story.

How would you compare and contrast Fulci and Castellari as directors?

Castellari is a good director, very good for action pictures…

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… a real pro, though as I keep saying, Fulci was a cut above all of them.

When you started working together, did you see any evidence of Fulci’s famous eccentricity?

(Laughing) I already knew that Fulci was a strange man… the first morning when we were shooting Zombi 2 in Manhattan, with the boat in the harbour, we had many problems… which is pretty normal for me. Fulci seemed to be very angry as we were trying to get the first shot, and suddenly he announced that he wasn’t going to do it. I called Lucio over with the rest of the crew, and I said: “Bye bye, if you won’t do it, then the picture is finished” Suddenly he was no longer furious, he said: “I’m only joking, I’ll get to work”… a fantastic character!

I heard that the original guy who was made up as a zombie to fight the shark underwater had a panic attack and ran away…

Yeah, that’s right! (Laughs)

Is it true that some footage which Fulci shot for Zombi 2 ended up in Zombi Holocaust?

No, not true.

What did you think of the way the American distributors re-cut Zombi Holocaust before releasing it as Doctor Butcher M.D.?

Really? I don’t know anything about that… very strange!

Zombi 2 was a huge international success…

Yes, in the United States, all over the world… but I think The Beyond is a better picture.

That one is widely recognised as a cult classic, now…

But originally you know, it was not a great success. After two years or so, people started picking it up. If we had made that picture two years later, it would have been a big hit. It never became a big hit in terms of money, but eventually it did become a big critical success. I think it’s definitely the best picture of Fulci.

Fulci told me he was very upset about the fact that the Italian video release of The Beyond leaves out the famous pre-titles sequence…

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Maybe. I never saw the video but if Fulci said that, it must be true…

What did Fulci and Sacchetti contribute, respectively, to the conception of The Beyond?

On every picture that I made with Fulci, the idea to make the picture was mine, then I would call Sacchetti and Fulci. I gave them the idea, and then together we wrote a treatment, then the script. On The Beyond for instance, I called them and said: “Let’s make a picture about people in a house where they discover The Beyond”… this is the idea that we set out with. Sacchetti is very good for this type of picture, Fulci too of course, so it was really a collaboration between those two, to develop this idea, so when we set out to make the picture we knew what we were doing.

I know Fulci attributed much of The Beyond’s success to the fact that you were a “hands-off” kind of producer, who didn’t interfere on the creative side…

Yes, but I always stayed very close to Fulci – and also my other directors, Castellari or whoever – observing what they were doing, so when I myself started directing I knew what it was all about.

After the success you and Fulci had with Zombi 2, how come he made City Of The Living Dead for Dania / Medusa?

In this time I made many films with Fulci. I had like an exclusive contract with him, but I gave him a permit for two or three months to go and make that film with somebody else… mostly in that three or four years, however, he worked only with me, and we made five pictures together.

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You had censorship problems with The New York Ripper…

Where?

It was banned in the United Kingdom…

I don’t remember this. We didn’t have any problems with this picture in other markets… I remember I was producing New York Ripper at the same time as one of Castellari’s Bronx Warriors films, and I had the Fulci troupe and the Castellari  troupe together in the same hotel…

I don’t think Fulci was very fond of Castellari…

They were OK. I think he was jealous because some evenings I went to dinner with Castellari… other evenings I would go with Fulci. Maybe there was friction because they were both very strong characters and I had both of them in the hotel, during the last week of Fulci’s shoot for New York Ripper… Castellari was looking at locations for the Bronx Warriors film, which we were going to start the next week.

I believe you and Fulci argued over the Egyptian prologue to Manhattan Baby, which he didn’t want to shoot…

Yeah.

I actually love that movie, though it’s generally regarded as your weakest collaboration with Fulci…

I like the movie too, but it wasn’t very well understood. It wasn’t a particularly strong movie, but a good atmospheric one. I like it a lot, and I think it will be rediscovered one day.

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Why was your working relationship with Fulci not continued after Manhattan Baby?

We didn’t collaborate again because many producers called Fulci, he went on to make Conquest for another producer… Giovanni Di Clemente gave him a contract for two years.

It didn’t work out very well for him, though… I gather they ended up fighting each other in court!

Yeah, they did.

Are you surprised that all these movies you made such a long time ago have this growing cult following, all these magazines dedicated to them, and so on?

No, I’m not surprised that people are still interested in these Fulci movies, in fact I am convinced that with the passing of time, more and more people will discover Fulci, realise how good he really was and learn from his work.

In retrospect, was Fulci as “difficult” a man as he’s been painted?

Sure, Fulci could be difficult to work with, but a lot of this was down to the fact that his first love was the movie, and people came a very definite second with him. To me he was a nice man, a nice collaborator, but he was certainly a perfectionist, he always wanted to get the best out of the people he worked with…

He had this fantastic team around him for the pictures that he made with you…

Fulci knew very well the right people to make a picture with. Sometimes he would tell me that there was a particular person that he didn’t like, but he knew that the person was good for the picture, so he would call him. He always called the best people… everybody says that Lucio Fulci was difficult, but the really difficult person is Umberto Lenzi… a very, very difficult person.

In the early days of your career you were production manager on Lenzi’s crime flick Violent Naples (1976) …

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Later I produced his film Cop Target, with Robert Ginty… Umberto is a good director, but not a very nice person.

You’ve also worked with Aristide Massaccesi…

I worked with him about twenty years ago, we produced two pictures together (Emanuelle And The White Slave Trade and Emanuelle And The Last Cannibals – BF). He’s a good man, a good technical director, though not on the same level as Lucio Fulci. Now, many years on, Massaccesi works in only one line, the “sexy” line, and I think he is the star of that line, as “Joe D’Amato”…

He only makes “hard” pictures now…

Yes, he changed directions, and he is a big name in sexy movies.

That’s the only way he can make money now… it’s a bad time for film-making in Italy, isn’t it?

Sure, it’s not a good moment for our type of picture.

What went wrong? Even ten years ago, there were so many pictures being made, now virtually nothing…

The problem is the dominance of American films… the Italians only do comedy films with no international appeal, the American pictures come along with their 100 million dollar budgets… it’s impossible for us to make the same picture. We can compete with the United States for ideas, but not with the money, it’s impossible. Our type of picture is finished, mostly because the Germans are not buying them anymore. They’d rather buy one American picture that makes lots of money than ten of our little pictures. The same in Japan, they know it will make a lot of money theatrically and on TV. Now we make just comedies and some pictures for television.

Do you have any hopes for an improvement in the situation?

I hope that in two or three years we will make the money with Europe, it will go well. We need two or three years…

What, more co-productions?

Yeah… another two years, also because the new generation of film-makers is not ready yet. Right now they’re young, they don’t speak German, Spanish or whatever. Another two years and we will be making big productions with Europe…

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Looking back again, you produced Alberto Martino’s picture 7 Hyden Park… I gather that he and the star of the picture, David Warbeck, didn’t get on very well…

Yeah (laughs)

You produced another of David’s pictures, Quella Villa In Fondo Al Parco aka Ratman, supposedly with Giuliano Carnimeo directing, though I’ve heard that you actually directed most of the picture…

Yeah…

Was he not up to the job?

Carnimeo was a director of Italian comedies, and he could not adapt to this different type of picture…

Unlike Fulci, who was so versatile…

Yeah.

How did you find this tiny Guy, Nelson De La Rosa, who plays Ratman?

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This was strange – I was in Santa Domingo to produce a picture called, er…

Overthrow?

Overthrow, yeah…  and one time I was in this bar with two actors, setting up a shot. They were sitting at a table, and suddenly I noticed that the table-cloth was moving. I was wondering what was under there, and suddenly a very little man ran out from under the table. Immediately I said to one of my crew: “Get the number of this man, I’m going to make a picture with him… I’ll call it Ratman!” So I got on with the job, and at the end of the day I was given the number. I called him, and we made the picture three months later…

David Warbeck had already made a movie called Panic with Tonino Ricci, a few years earlier. In that one he also fights a rat monster, and he even has the same co-star…

Yeah, Janet Agren.

Some sources claim that a sequel was made to Quella Villa, but I haven’t been able to find out anything about it…

No, there was no sequel.

You worked with Luigi Cozzi on Paganini Horror…

Cozzi is really a writer… he has a lot of good ideas about effects and so on, but I don’t really consider him to be a director. He doesn’t understand anything about timing…

What was the exact extent of Daria Nicolodi’s participation in that picture?

Nothing much… Cozzi knows her, and because she was the partner of Dario Argento, we thought it would help to sell the picture to have her name associated with it.

Why did you start to direct your own pictures, from Thunder onwards?

I was in America and I had just completed the last of the Fulci films and the last Bronx Warriors film, and my plan was to make another film, three months later, in Arizona. That was Thunder.

You had the same actor, Mark Gregory a.k.a. Marco De Gregorio…

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Yes, and I wanted Castellari to direct it again, but by this time Castellari had signed contracts with other companies… you know, when I took Fulci, Fulci was down; when I took Castellari, Castellari was down… after they made pictures with me, they were doing well again. Fulci and Castellari are the best directors for my type of picture, but  they were both committed to other projects. There were no other available directors that I liked, so I decided to direct Thunder myself, that’s all there was to it.

Did you find it easy or difficult to step into directing?

Not difficult, because I always watched my directors closely and was able to pick up what they had been doing. Thunder was an adventure film and it went very well, having great success in the United States and all over the world.

When you are producing and directing the same picture, does De Angelis the director fight with De Angelis the producer over budgets…

Yeah, there is a conflict… I tend to give other directors bigger budgets than I give myself.

Whatever happened to Mark Gregory? He was a crazy, mixed-up kid, by all accounts…

He was stupid because I wanted to send him to the United States to study English and sign him to a 2-3 years contract, but another producer called and offered him a lot of money to do one picture, after which he was finished.

A bad career decision…

Yeah, he disappeared after that.

I interviewed another actor that you worked with, Giovanni Lombardo Radice…

Oh yes, he was a nice boy…

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“Who, me? Aw, shucks!”

He said that you gave him a really hard time on the film Deadly Impact…

Yeah?

Was he complaining too much, or was that true?

It’s true, yeah (laughs).

You directed Killer Crocodile, then you produced the sequel with make-up effects ace Giannetto De Rossi directing…

Yeah…

Has he got it in him to succeed as a director?

I don’t think so. It was my fault, I needed to have a big crocodile, and the only man in Italy who could make it was Giannetto de Rossi. He really is the top man for special effects, and he should stick to what he is best at, but I knew that he wanted to direct, so I called him and told him that if he made me a big crocodile for the first picture, I would let him direct the second… my fault.

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You were dissatisfied with the job he did on Killer Crocodile 2… is that why the film is padded with a lot of footage from its predecessor?

Yes, to cover the gaps.

You recently made Favola, a kind of fairy-story, again with David Warbeck…

Yeah… Favola is a TV Movie. We used the girl  Ambra Angiolini, because she is a real phenomenon with the young people in Italy right now.

What about our host today, David Warbeck… what are the qualities that have led to you using him in your films again and again?

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David is the best actor I know, there is no type of role that he cannot cover. He is such a friend, I can call him from anywhere in the world and he will arrive, even if he has not seen a script, because there is such trust between us, you know? This is very important…

Do you have any projects that you are keeping up your sleeve until the market is ready for them?

For some time now, maybe five years. I have been making pictures for young people, 10-15 years old, and now I feel that I want to make something stronger, like the films I did with Lucio Fulci.

Some of your former collaborators, when I interviewed them, complained that you made a lot of money from these films, and they didn’t. I think it’s only fair that I give you a chance to reply here…

Well, I pay as much as anybody else pays and you know, many of the people who complain are still working for me, so I can’t be that bad. Another thing – they only remember the pictures that went well, but they shouldn’t forget that for every Zombi 2, there are several Manhattan Babys!

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Stork And Slash… The Shameless BD Of Michele Soavi’s THE SECT Reviewed

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The Sect. BD. Region B. Shameless. 18.

Shameless’s UK disc debut of Michele Soavi’s 1991 effort The Sect (in both DVD and BD formats) follows hot on the hooves of the similar service they recently rendered to Soavi’s The Church (1989.) In my review of that one, elsewhere on this site, I recanted my long-held conviction that its many splendid visual set pieces could not compensate for a narrative that oscillates between risible and non-existent. On relection, this verdict was difficult to square with my oft-professed love for the likes of Inferno, The Beyond and City Of The Living Dead. I’ve performed a similar critical volte face after watching The Sect on Blu-ray, though it’s probably the lesser of the two films Soavi directed with Dario Argento as producer. Both of them kick in like gangbusters, only to lose momentum as bravura visuals alternate with wilfully obscure exposition through their overlong running time (The Sect clocks in just shy of two hours) en route to unsatisfying denouements. No accident, perhaps, that this one was released in the US as The Devil’s Daughter, possibly with the baffling conclusion to Hammer’s To The Devil A Daughter (1976) in mind.

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If anything, The Sect’s opening is even stronger than that of The Church, slapping the viewer upside his/her head with a 1-2 sucker punch. First we witness the end of the ’60s dream as members of a Californian hippy colony are slaughtered at the behest of Damon (Church alumnus Tomas Arana), a wild-eyed mystic with a penchant for discerning profundities in the lyrics of classic rock songs (remind you of anyone?) before crossing Continents and decades to “present day” Frankfurt, where John Morghen blows his own brains out in a metro station after police discover that he’s been taking the words of the Tony Basil song Stop That Man (“He’s getting away with my heart in his hand”) rather too literally. Reassuring stuff, given that Morghen (the perennial super-masochist / martyr of pasta paura cinema) died such a disappointing death in The Church.

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Frankfurt magistrate John Ford (just one of several, vaguely irritating, buffish character names) issues doomy pronouncements about the activities of sinister Satanic outfits. He’s particularly concerned about “The notorious Faceless Sect operating in the US during the ’70s”, a  cult founded by the mysterious Moebius Kelly. The briefly glimpsed Ford is played by Donald O’Brien, who’s certainly got form in this field, having run a Kito cult in his role as Doctor Butcher M.D. in the Marino Girolami film of that title.

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Before we can work out what the hell is going on, elementary schoolteacher Miriam (Kelly Curtis, Jamie Lee’s prettier big sister) runs over a jay-walking hobo (Moebius Kelly himself, played by Herbert Lom) and takes him back to her place to recuperate. The old geezer’s got a funny way of showing his gratitude – he bungs a dung beetle up Miriam’s nose while she’s asleep and Celtic imagery begins to invade her dreams, which apparently signifies that she’s now ripe to be knocked up with the devil’s spawn. As the film proceeds, it becomes clear that many of the people around her are conniving at precisely this aim. Shades of Val Lewton and Mark Robson’s The Seventh Victim (1943)…

… and indeed, Polanski’s Rosemary’s Baby (1968) whose demonic insemination scene was restaged at the climax of The Church. This time out the titular sect contrive to get Miriam raped by a stork that jumps out of the submerged well in her basement… a submerged basement well of which she was previously unaware … did I already mention that this film’s plotting isn’t exactly its strong point?

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Just as The Church proceeded  from a vague Dario Argento diktat (“My brief to Michele was to explore the feelings I had about life in contemporary Germany beginning a new Middle Ages”), so Argento stipulated certain of The Sect’s salient imagery, including the Satanists’ full moon face ripping ceremony which (with the aid of Pino Donaggio’s spellbinding main theme) works rather well, plus some stuff that really doesn’t, e.g. the ongoing shenanigans concerning a kind of anti-Shroud Of Turin which, we learn, smothers some people but brings others (whom you’d prefer to be dead) back to life. What I really want to know about this flying snot rag, though, is… does it smell of death? And one of its victims, Kathryn, is ideally placed to comment on this, played as she is by Maria Angela Giordano of Burial Ground infamy.

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Struggling to impose some of his own identity amid all of this Argentiana, Soavi seems more intent on stuffing every available frame with arcane symbolism and cryptic allusions than he is with pulling all of these disparate strands of material together in a way that makes some kind of narrative sense. At one point he offers us a channel-hopping bunny which tunes into footage of the director himself doing conjuring tricks on TV! You’ll like it… but not a lot!

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“Who hid the remote in the cellar?”

It would be unfair to dismiss Kelly Curtis as just another sorry sibling recruited by the spaghetti exploitation industry solely on account of kid sister Jamie Lee’s scream queen exploits (in much the same way that Italian producers made a minor star out of Tisa Farrow and even attempted to do so with Neil Connery, before he forsook international espionage and returned to working as a milkman)… she already had a decent acting pedigree quite independently of JLC, who was born the same year that Kelly appeared as a little girl in Mom and Dad’s The Vikings (1958.) Plus, she’s actually rather good, here, ably personifying the anxieties suffered by pregnant women in a film that deals with such concerns rather more subtly than e.g. Alien (1979) or Humanoids From The Deep (1980), if considerably less so than Polanski’s picture. No doubt Herbert Lom later pleaded ignorance of any violent scenes that take place in The Sect…

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Having moaned in my review of The Church that I was only sent the DVD version, I’m happy to report that they sent me The Sect on Blu-ray and it looks just great. Given the two audio options available, I chose the Italian language one (with English subtitles) because it’s in 5.1 Surround. The mix proved strangely unadventurous and I didn’t notice any significant benefit until the outbreak of Pino Donaggio’s gorgeous main theme during the moon lit face removal ceremony… that one always gets the hairs standing up on the back of my neck to an extent only bettered by Fabio Frizzi’s Voci Dall Nulla at the climax of The Beyond.

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Extras include trailers for this and other Shameless releases plus the continuation of the Soavi interview from their Church disc, this instalment entitled Beauty And Terror.” Hardly surprisingly, he talks up his collaborations with the likes of Argento and Terry Gilliam but it’s gratifying to hear the director acknowledging his debts to Fulci and D’Amato (“This man had an energy not human!”), too. His “compare and contrast” reports on the various directors’ personalities, working methods and the atmospheres on their respective sets are most enlightening. Soavi also reveals that Tarantino offered him the direction of From Dusk Till Dawn (1996), which he now regrets turning down.

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Given her grisly former glories, it’s interesting to hear Soavi detailing the way in which the demise of Maria Angela Giordano’s character was cut, having been deemed too gruesome. We also learn that the Sergio Stivaletti special effect by which a bug climbs up Kelly’s nose was shot with a camera that was formally Mario Bava’s.

The Sect is an uneven film, no question, but it’s probably better than anything Argento himself has managed since 1987 and only a terminally hard-to-please pasta paura buff could fail to find something to enjoy herein, if only the first screen teaming (ish… they don’t actually share a scene) of Italian Horror’s “Mr & Mrs Most Mutilated”, Morghen and Giordano. Perhaps some sinister Satanists can arrange for him to impregnate her… or perhaps even they would find the probable results of that coupling just too daunting to contemplate!

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Categories: Blu-ray / DVD Reviews | Tags: , , , , , , | Leave a comment

Altared States… Michele Soavi’s THE CHURCH and Robert Eggers’ THE WITCH Reviewed

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The Church. DVD. Region 2. Shameless. 18.

The Witch. BD. Region B. Universal. 15.

The wheels grind slowly here at The House Of Freudstein. Maybe it’s something to do with that split in the space / time continuum we’ve got going on down in the basement… one minute a badly dubbed Italian brat is running away from a shambling mosaic of putrescent human flesh, the next he’s popping up in a fin-de-siecle parallel universe. Makes my fucking head spin, I don’t mind telling you! Anyway, the wheels grind slowly…

… case in point, Robert Eggers’ The Witch, a film released in 2015. When I interviewed Harvey Fenton at Nottingham’s Mayhem Film Festival that year, for a piece which ultimately appeared in Dark Side magazine, he raved to me about this film, citing scenes such as the one in which a child dies in the throes of religious ecstasy

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and enthusing about its possessed goat. “What… better than the possessed goat in Drag Me to Hell?” I asked. “Better than that!”, he assured me. So I promised him I’d watch it. A year went by and finding myself on the winning team at Mayhem 2016’s Flinterrogation quiz (yeah, I do bang on rather a lot about this but what you going to do about it?) I grabbed a couple of BDs as my share of the winners’ swag bag, one of them being The Witch. A month or so after that I finally watched it… and now I’ve got my shit together sufficiently to review it!

The final poke that stirred me from my default state of inertia was the arrival on my in tray of Michele Soavi’s The Church (1981), debuting on UK disc courtesy of Shameless. The striking parallels between the two films strongly suggested to me that they should be considered together. I mean, both of them offer a simplistic, Manichaeist world view in which the principal characters’ loss of faith is precipitated by and / or precipitates an inexorable paradigm shift into a new and malign reality… the other stuff they share in common being caprine capers (or, if you will, hircine horrors) by which the ram Black Phillip eviscerates Ralph Ineson in Eggers’ picture and (a much smarter day’s work, in my estimation) a Rosemary’s Baby reject bonks the beautiful Barbara Cupisti in the bowels of a cathedral crypt during Soavi’s… Country File was never like this!

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Eggers’ New-England Folk Tale (as the film’s subtitle has it) plays out in the 1630s and concerns a family of Puritans (the ever excellent Ineson as patriarch William, Kate Dickie as his wife Catherine and Anya Taylor-Joy as Thomasin, the oldest of several children) who leave their settlement on account of some obscure doctrinal dispute and set up in a small holding in the wilderness, throwing themselves on the bounty and mercy of God…

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… but darker Gods are at work in the woods.

When their infant son is abducted (and a murky, impressionistic Blair Witch-style sequence suggests that he is indeed ritually sacrificed by some hovel-dwelling hag) the family turns in on itself amid mutual suspicions of Satanic involvement. Thomasin becomes prime suspect after searching secretly in the woods, with her brother, for the missing baby but returning alone. Suspicions are not exactly allayed when the boy reappears, only to die in the aforementioned religious ecstasy. As paranoia peaks, recrimination turns into physical confrontation. Black Phillip lends a hand (hoof?) in the ensuing bloody carnage which leaves just one family member standing and ready to throw in their lot with The Dark Side for a truly delirious conclusion.

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The above makes The Witch sound like a pedal-to-the-metal Evil Deadalike but in fact it’s a suspenseful, satisfying, slow burn of a movie with ravishing cinematography (courtesy of Jarin Blaschke) and sound design. Hats off to Harvey (though for me, Black Phillip’s not a patch on the possessed goat in Drag Me To Hell.) You keep expecting a rational explanation or at least an upturn in the family’s miserable fortunes until the penny finally drops, the shock realisation that this just ain’t gonna happen… reminded me of the point in Blow Up where you twig that the mystery is never going to be solved… of watching Match Of The Day pundits acknowledging, long after everybody else had sussed it, that Leicester City were not going to blow their 2015-16 title challenge… and going to bed on the 9th of November when it was obvious that Trump was going to win, while the TV talking heads were still blathering about how Hillary’s best wards were yet to be counted and she was going to turn it around.

Writer / director Eggers plundered the archives of 17th Century witchcraft testimony to mount The Witch as a realistic story and the events in it are real, if only in the minds of its religiously fanatical participants. “Buddha says…” as we were so helpfully reminded in the title sequence to every episode of Monkey: “… that with our thoughts we make the world.” The paranoid Puritan mindset made The USA and the ongoing story of how it, in turn, makes over The World in its own image is, one suspects, going to take a significant twist or two over the next couple of years. One also suspects that we will see, over a similar period, Ms Taylor-Joy emerging as “the new Christina Ricci”…

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Anya Taylor-Joy, emerging as “the new Christina Ricci”… yesterday.

Universal’s BD edition of The Witch looks and sounds quiet beautiful and comes with the bonus of Digital HD Ultraviolet, though I’m too much of a Luddite to have anything more than the vaguest of ideas what that actually means… not such a technophobe thought that I don’t feel justified in having a moan about the clunky interface and slow response of the menus on this disc, problems I’ve encountered on various other Universal releases. It’s a bit short on supplementary features too, boasting precisely… none…. not a sausage… barer than William and Catherine’s family food cupboard!

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Shameless’s Soavi disc is somewhat better apportioned in terms of extras. Alongside the mandatory clutch of trailers for the label’s other releases, you get the featurette Cathedral Of Fear in which the director (still looking cool, if a touch grey and grizzled around the edges) talks about his sophomore feature effort and how it emerged from the remnants of Lamberto Bava’s abandoned Demons 3. He acknowledges that Argento was a generous producer who scrupulously avoided stepping on his toes, while admitting that he found  it difficult to see The Church and his follow-up effort The Sect (1991) marketed as “Argento productions.” Soavi also concedes that he, Argento and Franco Ferrini struggled to come up with an effective ending (no foolin’) and remembers trying to coax the enigmatic smile required for the film’s closing shot out of Asia Argento, whom he describes as “handsome, attractive and talentish.” “Now everyone has gone their own way…” concludes MS “… but it was a very beautiful period of my life.” Nice.

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And what of The Church itself? On its release, almost (cripes!) thirty years ago, I reviewed the film with something less than whole-hearted enthusiasm… “style over substance” was the burden of my complaint against it. With hindsight and in the light of my previous championing of such comparably amorphous entities as Argento’s Inferno and Fulci’s The Beyond, that verdict does seem rather a perverse one. It was arrived at in the context of my expectations following Soavi’s stunning directorial debut Stagefright (1987), a cracking giallo (arguably the last worthwhile offering in that genre) that packed more than its fair share of visual flair but proceeded, nevertheless, along the ruthlessly logical lines of Luigi Montefiori’s script and producer Joe D’Amato’s commercial demands. At this remove, having very much enjoyed this Shameless release, I’m more inclined to celebrate Soavi’s wayward pictorial sense than to question it, especially in view of the Pasta Paura drought that we’ve suffered in recent decades.

The Church couldn’t be further removed from ruthless logic, opening with a posse of Teutonic Knights galloping through a lush forest at daybreak to the accompaniment of Keith Emerson’s infernal fugue (the film’s score, by Emerson, Philip Glass and Goblin – which at this point was effectively Fabio Pignatelli – is one aspect of The Church with which I’ve never had any issues). Acting on a hot tip-off from an over acting village idiot (Gianfranco De Grassi, “Curlie” from Aldo Lado’s notorious Night Train Murders), the knights storm the cave HQ of some devil worshipping peasants and put them to the sword.

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This sequence features a memorable cross-shaped P-O-V shot through a knight’s helmet visor, suggesting again a world shaped by a narrow world view. After the witches have been buried in a communal grave and the site marked with a huge cross, an epic steadicam shot brings us to the present day and to the cathedral which has been erected on this spot, where one of the presiding prelates is spaghetti splatter legend and Stagefright alumnus Giovanni Lombardo Radice aka John Morghen.

Yuppie dark ages buff Tomas Arana arrives at the church to assist Barbara Cupisti (another Stagefright alumnus and Soavi’s real life main squeeze while this movie was being made) in the restoration of a demonic mural (shades of Pupi Avati’s masterly The House With Laughing Windows), while scowling Father Feodor Chaliapin (Name Of The Rose, Inferno) sermonises endlessly about the ever-present threat of demons. Apparently the ghosts of those Teutonic knights are also hanging around the place, because somebody in the foley department is working overtime banging coconut shells together to render the signature hoof tattoos of their spectral mounts. Arana, who has already displaced a marked tendency towards flakiness with his preference for the perusal of medieval inscriptions over the charms of Cupisti, is possessed by evil spirits while prying into the basement pit of souls. We know that he’s possessed because he stops combing his hair, sits at a typewriter endlessly tapping out the legend “666” (yes, we’ve seen The Shining too) and starts foaming at the mouth over Asia Argento’s ankle socks. More spectacularly, Arana is later seen in a telephone box – not changing into a superhero costume, as you might think, but tearing out his own heart and offering the still pumping organ to a boiling blood-red sky.

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When the church warden skewers himself to the basement cross with a pneumatic drill he activates an intricate system of cogs and levers (just think of Howard Hawks’ Land Of The Pharaohs, and if you haven’t seen that try the board game “Mousetrap”) that seal our hapless protagonists (now including a party of school children, models and fashion photographers on a location shoot, and assorted tourists) off from the outside world. In connection with this the characters explicitly reference Fulcanelli, whose “Mysteries of The Cathedrals” tome also inspired Pupi Avatis’ The Arcane Enchanter, 1996 (though it was Avati himself who subsequently told me that Fulcanelli was a mythical rather than historical figure.)

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At this point the plot, which was already as creaky as one of those Medieval ratchet devices, flies out of the stained glass window as the increasingly bemused looking participants are left to wander around the cathedral confines, rapidly losing their marbles. Antonella Vitale, who for most of the film has little to do except flounce around looking gorgeous, is nearly squeezed to death by a wedding dress she’s modelling at one point, but the fact that Argento can manage such an arch comment on the state of his relationship with this actress can only have encouraged the above mentioned doubts about the authorship of La Chiesa. Indeed, it’s interesting to note that the only other memorable scene involving La Vitale (a ludicrous one in which she pulls her face off) has been crudely cribbed from Poltergeist, a film on which producer Stephen Spielberg reputedly called more shots than nominal director Tobe Hooper.

Soavi swears that Argento was no back seat director but here has been charged with cooking up something from an Argento outline so half-baked that it could probably induce listeria poisoning (“My brief to Michele was to explore the feelings I had about life in contemporary Germany beginning a new Middle Ages.”) The viewer will have to make up his / her own mind about the exact working relationship between director Soavi and the man who “presented” his second and third feature films.

Elsewhere a castor mounted demon is wheeled in to spirit a girl off into a cloister; two bikers tunnel their way out of the church, only to discover that the light at the end of the tunnel really is an oncoming train; an old buffer’s face literally rings a bell after his wife has decapitated him (off camera, regrettably, likewise the eagerly awaited demise of John Morghen) and a risible rubber fish monster leaps out of the font to clamp its latex jaws around an unfortunate bystander’s head. Stivaletti’s attempted show stopper is an Archimboldo demon head that finally bursts through the floor of the cathedral and reminded me of nothing so much as the climax to Roy Ward Baker’s Quatermass And The Pit.

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The mounting confusion is hardly mitigated by the fact that various characters don’t let their deaths discourage them from returning to participate further in the escalating surreal shenanigans and in a heart warming cast reunion where they witness Arana (now in full Devil Rides Out billy-goat drag) and Cupisti restaging the devil impregnation scene from a certain Roman Polanski movie… and then that unconvincing coda.

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He’s so horny… horny, horny, horny…

The Shameless DVD looks OK but the music and sound effects seem to have been mixed kinda low. I wish they’d included a 5.1 audio option (when I saw La Chiesa in Rome on the big screen with a nice sound system, it proved to be a pretty immersive experience.) In fact I’d really like to have seen their (near) simultaneous Blu-ray release but you know what they say… bloggers can’t be choosers!

This release also comes with reversible sleeve options and for once I prefer the “newly commissioned art work” to the “classic” imagery on the flip… though I’m not sure they would have gotten away with it back in the heyday of the Video Packaging Review Committee… those pesky kids!

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“The Ruthless Logic Of Commercial Production”… THE SERGIO MARTINO INTERVIEW

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Sergio Martino interviewed in March 1997.

Were you surprised to learn that Quentin Tarantino was one of your biggest fans?

When I first read his comments in Giallo Pages, yes – but after reflecting a lot on it, I realised that he was paying tribute to myself and also to a whole generation of Italian film-makers who knew, above all, how to improvise,  and use their imaginations to overcome restricted resources and shooting schedules. Tarantino started off in “low budget” cinema himself, so he appreciates only too well what it takes to get good results under these circumstances.

Are you aware of the increasing “cult” status of Italian genre films in America, England and Europe?

Yes, because with increasing frequency I’m hearing from journalists like yourself, who want to interview me about films I’ve made in the past… I hope that in the future I’ll get to make some more that will also be of interest to you!

Me too, but the present state of the Italian film industry isn’t very promising… what is the reason for this? And can you see any remedy?

The present state of Italian genre cinema is, indeed, very sad. The cause of our decline has been the massive economical and technical superiority of Hollywood, which you can only fight with improvisation and imagination for so long. The investment sources that we used to have in Italy have just dried up. If we could get a million and a half dollars to make an action film, then perhaps we would again be able to get the attention of the international market, but there is no Italian producer in a position to risk such a sum. Perhaps the future lies with more European co-productions, though these bring difficulties due to differing languages and national taste.

Have you managed to keep making movies during these last few difficult years?

I’ve been offered opportunities to shoot a few films on which the budgets would have been disgraceful, so instead I’ve been concentrating on making TV series.

I believe that in the early days, you worked as an assistant to the great Mario Bava… how do you remember him, and what did you learn from him?

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I worked on the shoot of Mario Bava’s The Whip And The Flesh (1963) as a production assistant. I remember his technical ability, his expertise in constructing scale models and how skilfully he used lighting and camera positioning to make up for certain deficiencies in the acting department. He had previously worked as a cinematographer, so he knew that a shaft of light or a lower positioning of the camera lower could heighten the dramatic impact of a line. Also, he knew exactly what he wanted to shoot and would never shoot anything superfluous. If a film was to last 90 minutes, he would scarcely shoot any more than that.

You also worked with Antonio Margheriti and Umberto Lenzi on some of their films…

I have very positive memories of them as two real pros, who had mastered the technical side of film-making.

Your earliest directorial credits were “mondo” efforts such as Mille Peccati… Nessuna Virtu (1969) and America… Cosi’ Nude, Cosa Violenta (1970)… how do your remember those?

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Extraordinary memories. These films allowed me, while very young, to live through unrepeatable experiences… this was the time of the youthful rebellion in 1968, the hippies, the anti-war movement, women’s liberation and the first men on the moon…

You also worked in a genre, which is a descendent of the “mondo” documentaries… cannibal movies: how would you compare and contrast your Mountain Of The Cannibal God with the cannibal pictures of Umberto Lenzi and Ruggero Deodato?

I saw one of Deodato’s films, though unfortunately I don’t remember what it was called. It was made before my Montagne Del Dio Canibale…

That would be L’Ultimo Mondo Cannibale, then…

 … but it was trying for the same sort of ambience. I think Lenzi’s films in this genre  were made after mine, but I must confess that I haven’t seen them. I think that between all of them there was some affinity… once one such film has been successful, the producers obviously want you to come up with something similar.

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Did you, your cast and crew encounter any real dangers in the jungle?

The only problem was the wasps, really. I made Montagne Del Dio Canibale and The Great Alligator in Sri Lanka and Malaysia. The most effective jungle scenes were actually shot in the botanical garden of Kandj, in very comfortable circumstances. I remember though, shooting in the cave in Montagne Del Dio Canibale… it was so hot and humid, even more so under the lights. In addition, we’d just had to climb 500 metres up a mountain!

Because she’s such a big star, did you have problems convincing Ursula Andress to have all that crap rubbed all over her?

Ursula had already experienced a lot in life and made other films in the jungle, so she was not worried on that occasion, nor indeed  in the scene with the python, which she insisted I shoot without using a double.

How do you respond to the charge that such films are “racist” or “cruel to animals”?

Racism? This is a first for me, but the things critics come up with never cease to amaze me! As far as I’m concerned, these films were inspired by American adventure cinema of the 4O’s like King Solomon’s Mines, and other American and European adventure cinema. I can understand the “cruelty against animals” charge, but the scene in which the python strangles the monkey, for instance, was shot almost by chance. Admittedly, the monkey was put next to the snake, but it had every opportunity to escape… there was nothing inevitable about it being killed. Anyway, in the jungle the law of life is the law of survival. I don’t believe, moreover, that the makers of all these “respectable” nature documentaries we see on TV just shoot what they find… I think that many of their violent scenes of jungle life are contrived and reconstructed.

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Were you surprised that your brother Luciano put some of your footage from Montagne Del Dio Canibale into Umberto Lenzi’s Eaten Alive?

Not at all – it’s the ruthless logic of commercial production. Would it be more just to shoot another scene of violence to animals? So it seems right to me to re-use the footage, as it suited the purposes of that film so well.

Is it more or less difficult working with a producer who is also your brother?

As with any other situation, there are both advantages and disadvantages. On the plus side I have managed to keep working in a field that is otherwise rather precarious, and I am allowed to make my films with a certain autonomy. The disadvantage is that, I’ve made so many films with my brother that other producers are less inclined to call me for their projects.

How would you define the term “giallo” and assess the Italian thriller’s influence on the thriller genre internationally?

It’s obvious that directors like Romero and De Palma have been influenced by their viewings of Italian gialli. In essence, these are thrillers based not only on the intricacies of uncovering the identity of the culprits, but also on the use – and, at times misuse – of violent imagery. As for myself, the biggest influence on my own gialli has been Clouzot’s Les Diaboliques.

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That influence is very apparent in a film like Your Vice Is A Closed Room… what are your favourite and least favourite of your own entries in this genre?

My least favourite would certainly be Murder In The Etruscan Cemetery, my favourites are All The Colours Of Darkness and – my absolute favourite – the sequence at the end of Torso in which Suzy Kendall is locked in the room, being stalked by the killer. I think that I was very successful in generating a lot of suspense there.

Was Kendall cast as an hommage to her role in The Bird With The Crystal Plumage?

Suzy Kendall is an excellent actress, and at that time she was very bankable, internationally. The film was shot in English, and her casting was partly motivated by this, though of course the fact that she had been in Argento’s film was also a major factor.

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Do you agree with the assessment that Torso represents a transition from the stylish gialli of the ‘60s and early ‘70s to the brutal “splatter movies” that came later?

I don’t really know how to answer that, because I don’t recall the kind of films that were being made at the same time or just afterwards… in fact I followed Torso up with a comedy and two tear-jerkers.

How did you find the experience of working with Carlo Ponti?

It was a very positive experience. There was a great deal of trust between us. I was then a very young director, and not particularly self-confident… it’s fair to say that I became one of his pupils. Unfortunately we only made a few films together… three, and all successful. Soon after this, he had his tax problems, and could not work as a producer in Italy for a long time. A pity from my point of view, but above all for the Italian film business, because he was one of the most intelligent producers we ever had.

What did you think of the alterations that American distributors made to your films, e.g. Joseph Brenner with Torso, the way that All The Colours Of Darkness lost its opening nightmare sequence in America, and the way that more gore was added to Island Of The Fishmen?

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For a long time, I was not even aware of this. I was later told that these changes were made to make the films more appealing to an American audience. It’s not that the distributors found the content of these films below par, just that different audiences are looking for different things.

The theme of female masochism in your The Strange Vice Of Mrs Wardh echoes that in Mario Bava’s The Whip And The Flesh, which as we mentioned earlier, you worked on…

Possibly so… the films shared the same writer, Ernesto Gastaldi. But the real inspiration for Strange Vice, of course, was the commercial success of Argento’s first film.

What was Nora Orlandi’s inspiration for the haunting theme music to that film?

Nora Orlandi is a woman of great musical sensitivity and passion. I thought it was right to use her because she would be better able to interpret the sensations of the female protagonist.

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Murder In The Etruscan Cemetery and Delitti Privati are both, in their different ways, “TV gialli”. Is the genre suited to this medium?

In a TV series, which runs longer than a feature, it’s more difficult to keep suspicion moving between the various characters… the plot must be much more intricate to hold the viewer’s interest and persuade them to tune in next time. In the case of Delitti Privati, I think we managed this quite well.

Sergio Stivaletti worked on Etruscan Cemetery and other  of your movies… how do you rate this FX man-turned-director?

He’s a young man with a fantastic talent. I think that it’s a good move for him to start directing, and I’m sure that he will be successful.

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Giovanni Lombardo Radice from Etruscan Cemetery told me that he found you a very “cold” director, but later realised that you had made him give one of his best performances… do you have a set way of working with actors?

I think that the rapport between director and actors is determined, above all, by the quality of the story and by adherence to the truth of the characters’ motivations. In genre films the stories are often very mechanical and the characters are moved not by true reactions to the situation, but by the necessities of moving the story along. For example – why, in giallo films, do so many beautiful and vulnerable girls sleep alone in sinister, isolated  castles instead of comfortable and secure hotels in the towns nearby? Because otherwise, it would not be possible to generate any suspense. The characters are motivated by the will of the writer and the director. In this respect it is difficult to communicate to the actors how they should be interpreting their roles, when it’s mainly a matter of mechanics. Perhaps my “cold attitude” towards actors in certain films was determined a little by my own natural timidity, but also from my awareness of the limitations on creative possibilities in these circumstances, where all you want from them is a routine “fearful” expression, or whatever. If Lombardo Radice believes that this brought out the best in him as an actor, so much the better.

Was it important for you to keep a regular cast (e.g. Edwige Fenech, George Hilton) from picture to picture?

It produced a great sense of camaraderie among us, which probably helped everybody to give their best to the production.

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What are your memories of working with Fenech?

Very agreeable and positive. I hope to work with her again in the future.

What did you think of her appearances in gialli made by other directors, like Giuliano Carnimeo and Andrea Bianchi?

I don’t think it’s my place to judge the work of my colleagues, in the giallo field or elsewhere. I will say though that these are excellent professionals, who have worked well in most genres, not just the giallo.

Do you think Fenech is better as a giallo ingenue, or a comedienne?

Her sunny face and Mediterranean beauty inclines me to think she’s more suitable for comedy. On the other hand, Delitti Privati demonstrates just how well she can do in a dramatic role.

Any memories of Barbara Bouchet?

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Another actress with a great comic talent. I think it’s a real pity that she doesn’t seem able to get roles in the cinema and on TV these days. She works mainly in the theatre, now…

Presumably you used international actors like Marty Feldman, for example, in Sex with A Smile, in an attempt to make the Italian comedy a less domestic affair and more saleable abroad?

Yes, obviously. Marty Feldman in particular was a great comic. In fact, at this time Italian comedies did have a certain amount of international success, and actors like Buzzanca and La Fenech became quite marketable.

Your cop films – like Milano Trema: La Polizia Vuole Giustizia (The Violent Professionals) with Luc Merenda – were criticised for being “fascistic”…

I remember that in Italy at the start of the seventies there were moves in  parliament to disarm the police, and sociologists were arguing against putting people in prison. But the man in the street wanted strong, decisive action against crime. All the cop films of the time had this same theme, like the American films of Clint Eastwood and Charles Bronson – are they, then, “fascistic”?

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In 2019: After The Fall Of New York, you tried to put a new slant on the hackneyed “after The Bomb” scenario, with Wagnerian allusions, and so on…

To be honest, although the Wagnerian tone is a suggestion that pleases me, I’m not sure how intentional it was.

Well, you’ve got a character named “Parsifal” in there, for starters… what are your memories of the Westerns you made?

Arizona Si Scateno was my first non-documentary film. I remember with nostalgia how green I was in those days. I think that with Mannaja (A Man Called Blade) I made a good film with some beautiful sequences, though it came a little too late in the great “spaghetti western” cycle.

Can you tell us something about Claudio Cassinelli’s tragic death during Vendetta Del Futuro (Hands Of Steel)?

More than ten years later, it still feels like an iron in my soul! Claudio was one of my dearest friends, a sensitive and gentle person. The circumstances of his death were really absurd… I don’t want to go over it all again, because no amount of that will bring poor Claudio back. I prefer to cherish the beautiful, personal memories I have of him.

What can you tell us about your 1993 film Craving Desire, with Serena Grandi?

It’s a film that I was able to make after the TV success of Delitti Privati. Serena did play a part in that film, though the star was Vittoria Belvedere. Serena had already played some small roles for me at the beginning of her career, so I knew very well how good she was.

Has Queen Of The Fishmen been completed yet? Is Edwige Fenech in it, as announced?

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The film was shown, with some success, at the Cairo Film Festival in 1996. It’s a kind of fairytale that uses repertory footage from Island Of The Fishmen and 2019.  La Fenech did not appear in the film, because at the last moment she decided that she couldn’t face wearing a heavy costume in the equatorial climate that we would be shooting in.

Why do you use two American-sounding pseudonyms (“Martin Dolman” and “Christian Plummer”) instead of the customary one?

The name “Plummer” was used only for the abridged version of Etruscan Cemetery, the feature that we “salvaged” from the TV series. At this time there were so many films by “Martin Dolman” on the market, we thought that another pseudonym was in order, so as not to devalue the name.

Any future projects that we should be anticipating?

Some TV projects, then another “giallo” serial.

Sergio Martino, thank you so much for your time.

You’re very welcome.

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In Memoriam, Luciano Martino (22.12.33 – 14.08.13)

Categories: Interviews | Tags: , , , , , , , , , , , , , | Leave a comment

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