There are some Gialli that have mysteries that are, um, not of this realm. And baddies who are, um, not just of your average flesh-and-blood variety. More like your basic fire-and-brimstone-and-lightning-and-thunder variety. I'm well aware that some Gialli fans vehemently declare that the "Classic Giallo Formula" shouldn’t include supernatural elements. My respectful response: Oh-fucking-really? What do you make of PROFONDO ROSSO's "psychic phenomena" Mac-Guffin, Einsteins? Without it, there wouldn't have been a movie. That flick was almost half of a Supernatural Giallo - and it was just, you know, a classic.
Anyhow, a Supernatural Giallo is one that combines the classic elements (foreign leads, labyrinthine mysteries, black-gloved killers, elaborate suspense setpieces) with large, unmistakable heapings of the heebie-jeebies and spooky-ookies. Bottom line: a Giallo with a witch and doors that open by themselves and heroines who have visions of death and dismemberment and can control insects to do their bidding is still a Giallo. Just saying.
As with our other sections from this Sampler, the SUPERNATURAL GIALLI below are listed chronologically:
#1. GLI ORRORI DEL CASTELLO DI NORIMBERGA (1972)
ENGLISH TITLE: BARON BLOOD
CAST: Joseph Cotten, Elke Sommer, Antonio Cantafora, Massimo Girotti, Rada Rassimov, Umberto Raho, Dieter Tressler.
DIRECTOR: Mario Bava
IT'S LIKE THIS: Peter Kleist (Antonio Cantafora) is an American dude who travels to Austria to trace his lineage and get to know the European side of this family tree. He discovers that he is descended from the notorious Baron Otto Von Kleist, who was like an Austrian version of Vlad The Impaler, apparently. Peter finds out that the humongous Kleist castle is being converted by his Uncle Karl (Massimo Girotti) into a hotel - and that during Baron Otto's reign a few hundred years ago, it was the site of some really messed-up murders and tortures. I don't even want to know what kind of people would want to stay in a hotel with a history like that.
Anyhow, to make things even worse, our "hero" Peter decides to impress Uncle Karl's assistant, Eva Arnold (Elke Sommer), by - wait for it - reciting a demonic incantation that, according to local legend, will - once again, wait for it - revive the long-dead Baron Otto Von Bloodthirsty Killer and set him free to be a very bad boy once again. Now, I have seen some stupid plays on the part of stupid men to impress the stupid chicks they have a boner for - but Petey's move takes the cake, folks. Psssst, Pete: you should've just taken the bitch out for a wienerschnitzel and a volksmarch. Jackass.
Before you know it, Peter's crazy-ass ancestor, Baron Otto Von Here I Come Bitches, is back from the dead, terrorizing the countryside surrounding Castle Kleist - and racking up quite the body count. And it's up to Peter, Eva, Uncle Karl and some foxy psychic named Christina Hoffman (Rada Rassimov) to return the Baron to the hole in hell that he crawled out of. But how will they deal with the bigger issue of someone as stupid as Peter Kleist being allowed to walk the Earth and wreak havoc with his infinite idiocy? That, my friends, is the true question. Hmmmmmmm....
WHY IT MAKES THE CUT: After pioneering the Giallo template with THE GIRLWHO KNEW TOO MUCH (1963) and BLOOD AND BLACK LACE (1965), director Mario Bava began to take it in another direction and blend it with the Gothic Horror sub-genre. BARON BLOOD and his truly bizarre 1974 entry, LISA AND THE DEVIL (featured later in our WTF? GIALLI section and also starring Elke Sommer), are good examples of Gialli that combine the traditional sub-genre's usual thriller elements with more obvious horror and supernatural themes.
All of Mario Bava's Gialli - whether good (BLOOD & BLACK LACE, THE GIRL WHO KNEW TOO MUCH) fair (TWITCH OF THE DEATH NERVE), or flawed (LISA & THE DEVIL) - are always thick with atmosphere. BARON BLOOD is no exception. Most critics and fans regard it at the midpoint of the quality scale, and it is often unjustly overshadowed by the more famous films in Bava's body of work, including the very overrated TWITCH OF THE DEATH NERVE.
The fact remains, though, that it is an effective chiller that takes the Giallo into new territory. Especially arresting is the "look" sported by the undead Baron: a riff on the traditional Giallo killer's Fedora and trenchcoat - which have been expanded here to a bolero hat and flowing cape. Watching the shadowy Baron in this get-up as he flits through the foggy village streets and winding corridors of Castle Kleist, stalking Eva and other would-be victims, is a truly creepy sight. Needless to say, BARON BLOOD is a very underrated entry in Mario Bava's oeuvre.
BEST SCENE: The scene where Peter very, very, very unwisely resurrects Baron Blood by reading that incantation. And the various chase scenes in the village and the castle wherein the Baron tears after Eva.
TRIVIA: There was some talk in the late-90s/early-2000's of an American remake of BARON BLOOD, but it appears to have stalled. Too bad, because the idea has real potential.
# 2. SUSPIRIA (1977)
ENGLISH TITLE: SUSPIRIA
CAST: Jessica Harper, Stefania Casini, Joan Bennett, Alida Valli, Barbara Magnolfi, Udo Kier, Eva Axen, Miguel Bose, Flavio Bucci.
DIRECTOR: Dario Argento
IT'S LIKE THIS: Pretty American sweet thang Suzy Banyon (Jessica Harper) has arrived in Germany to attend the famed Tanz Akademie, a ballet school deep in the heart of the Black Forest. Things go south pretty much from the moment she arrives when another student, Pat Hingle (Eva Axen), runs screaming into the rainy night, blowing right past Suzy like she ain't even there. The next morning, Suzy and the other aspiring ballerinas find out that Pat was viciously murdered right after leaving the school. What the fuck spooked Pat so badly that she booked it out of school in the middle of the night? And who killed her?
Then other weird things start to happen, like: maggots raining down from the ceiling, guide dogs attacking their blind owners, the faculty having secret meetings after hours, and the students walking around in really fucked-up outfits. Oh, wait... this movie is set in 1977, so those outfits are supposed to be normal. My bad. Anyhow, soon Suzy finds out from new pal Sara (Stefania Casini) that the Tanz Akademie was founded a century ago by Helena Markos, a chick who was supposedly a bad-ass evil witch. Could the school's dark history have something to do with the scary shit that's taking place in the here and now?
Sara seems to think so. Pretty soon she convinces Suzy to do the Nancy Drew Thang with her - and find out what's what by digging into the school's secrets. Unfortunately, someone else at the school doesn't think too highly of their plan - and sends all of Helena's evil minions after them. Will Suzy and Sara end up like Pat? Or will they survive the dark secrets of the Tanz Akademie? Hmmmmmmmm.....
WHY IT MAKES THE CUT: Dario Argento fans are often divided as to which one of his films is his true masterpiece. The consensus is often split between PROFONDO ROSSO/DEEP RED and SUSPIRIA, which were released within two years of each other in the mid-70s. Personally, I love them both equally - and for different reasons. DEEP RED is a terrific suspense-thriller with a baroque feel and serpentine puzzle that is almost hypnotic and other-worldly. SUSPIRIA is equally engrossing and even more colorful and surreal than DEEP RED, diving deeper into uncharted areas of the supernatural. But SUSPIRIA is also much more of a horror film, with its emphasis on witchcraft and alchemy.
In the end, you can't really compare the two because, despite their superficial similarities, they are as different as night and day. SUSPIRIA is probably a bit more famous than DEEP RED. As has been said before about this film, it's the closest anyone has come to putting a nightmare up on the big screen. Logic isn't paramount here, as things happen in an almost stream-of-consciousness, dream-like way. However, Argento (who co-wrote the screenplay with then-lover Daria Nicolodi) is enough of a storyteller and filmmaker to know that you have to give the audience a lead character that makes sense - even if everything around that person makes very little sense.
Enter Suzy Banyon...
Suzy Banyon is probably Argento's most famous lead character - and actress Jessica Harper plays her with a nice combination of toughness and tentativeness. Had someone less effective been in Harper's place, SUSPIRIA might have collapsed from the sheer weight of its improbabilities. Some folks have posited that Argento's skill at creating a vibrantly menacing atmosphere is what elevates this movie to classic status from potential train wreck. However, I respectfully submit that Argento's stylish command of the visual and aural media would not have been much good without a talented, relatable lead like Jessica Harper. With her as our "eyes and ears" into the story, the bizarre world of SUSPIRIA is believable and vividly real.
Ultimately, whether or not it is better than DEEP RED is a futile question - because SUSPIRIA, like DEEP RED, is a unique experience onto itself.
BEST SCENE: There are many classic setpieces here - but if we had to choose one, it would be Sara's chase scene through the school at night, with all the other students fast asleep. This whole sequence has the suffocating feel of a very bad dream.
TRIVIA: Daria Nicolodi, who co-wrote the script with Argento, has stated several times in interviews that the idea for SUSPIRIA came from her. Apparently, her French grandmother attended a dance school near the French/German border when she a teenager - and the school teachers reportedly taught and practiced Black Magic with certain students after hours. Nicolodi also hoped to play the main part of Suzy Banyon, but reportedly had to drop out when she injured her ankle during ballet practice to prepare for the role. As much as I like Nicolodi, I think she would have been very wrong for the part of Suzy Banyon. She's Italian - and only a genuine "All-American" actress with an "apple pie sweetness/tartness" like Jessica Harper could have made this role work. With Nicolodi as Suzy, the character would've been too European and not have comes across believably as "a stranger in a strange land" - and SUSPIRIA might not have been as effective as it ultimately was.
ADDITIONAL TRIVIA: As of a couple of years ago, the proposed (and controversial) American remake of SUSPIRIA was ready to move forward with director David Gordon Green (ALL THE REAL GIRLS, PINEAPPLE EXPRESS) at the helm. Then legal complications reportedly ensued, and now the project is said to be dead. This has made many SUSPIRIA fans happy, because they don't want to see the original Italian classic be tarnished by a substandard American remake. Dario Argento himself is vehemently opposed to the idea of anyone remaking what many consider his best film - and is happy that the project has stalled. Personally, I don't mind remakes because they often introduce the original film to a new generation, while allowing a different interpretation of the story. However, in the case of SUSPIRIA, it is such a unique and distinctive film that there is no way a remake could ever do justice to the original.
#3. SETTE NOTE IN NERO (1977)
ENGLISH TITLE: THE PSYCHIC
CAST: Jennifer O'Neill, Gianni Garko, Gabriele Ferzetti, Ida Galli, Marc Porel, Jenny Tamburi.
DIRECTOR: Lucio Fulci
IT'S LIKE THIS: Gorgeous American chick Virginia has married a rich Italian dude with the unfortunate name of Francesco Ducci (Gianni Garko). But that doesn't seem to bother our lovely heroine. After all, the dude is loaded. Who cares what his name sounds like in English? Anyhow, Francesco is always flying around Europe on business, and often leaves poor Virginia home by herself. To keep her occupied, he lets her renovate his family's ancient villa deep in the Tuscan countryside. But before you start thinking that Virginia goes the light-hearted Diane Lane route (a la UNDER THE TUSCAN SUN) let me unequivocally clarify matters for you: this ain't that kind of movie, goober. Nope, not even close.
You see, one night, while driving through a tunnel towards the villa, Virginia has a vision. She sees the following things: (1) a room, (2) a shadowy man, (3) a hole in the wall, and (4) a woman being bricked up alive inside the hole. Then, as if that wasn't messed-up enough, Virginia realizes that the room in her vision is one of the rooms in the Ducci (giggle) Villa. And she notices that a section of the wall has been, ahem, recently bricked-up. Acting on instinct, Virginia tears down the bricks - and discovers…. $6,000,000,000,000,000 in cash.
Kidding. She discovers a skeleton - of a woman. It appears that Virginia's vision was accurate: a woman was murdered by an unknown man and bricked-up alive to cover up the crime. But who was the man? And who is the woman? And why was she murdered? What links do the Ducci (ha ha) clan have to the murder? Is Francesco the killer? Or is it his sister, Gloria (Ida Galli)? Or is it the prominent local politician Emilio Rospini (Gabriele Ferzetti)? Or is it someone else? Someone less.... douchey, er, ducci, er, you know what I mean...
Sorry, Francesco. Couldn't resist.
WHY IT MAKES THE CUT: The director of this film is Lucio Fulci, who was known for very gory zombie flicks like ZOMBI (1979), THE GATES OF HELL (1980), and THE BEYOND (1981). Fulci also helmed the very infamous Giallo, THE NEW YORK RIPPER (1982), which is extremely graphic and unrelentingly explicit. I have not seen it and (no disrespect intended to the late Mr. Fulci) have no intention of doing so. As I've mentioned before, I look for suspense, style, and characterization in my Gialli - and THE NEW YORK RIPPER is said to be devoid of these. Instead, it seems to be determined to be as gross as possible and was actually banned in many countries. No, thanks.
However, Fulci shouldn't be judged based on THE NEW YORK RIPPER and his gratuitously violent zombie flicks, alone, because this man was also responsible for one of the most understatedly stylish and well-made Gialli we've ever seen: SETTE NOTE IN NERO - or THE PSYCHIC outside Italy. Quite frankly, it's hard for some of us to reconcile the fact that the same man who directed the notorious THE NEW YORK RIPPER was also responsible for a film that is its polar opposite - classy, well-written, intelligent, and emphasizes suspense and mystery with virtually no blood or gore.
THE PSYCHIC is one of the few Gialli to have an airtight plot that withstands scrutiny. Considering it is technically a Supernatural Giallo, that is even more remarkable. Haphazard, illogical plotting are mainstays of this sub-genre that often elevates style over substance. It is necessary for us to accept that in order to enjoy most Gialli. With this film, however, substance is neck-and-neck with style - and everything makes sense, even the stunning twist in the end.
Italian Gialli pioneered the concept of the "twist ending" way before M. Night Shymalan did in THE SIXTH SENSE, and the twist here is particularly effective because Fulci plays very fair with clues. You start to suspect it about ten minutes before the end - and the suspense comes from knowing if you are right or not. However, the twist is still devastating when it finally reveals itself. Put simply, THE PSYCHIC has an edge-of-your-seat conclusion that is ambiguous, ironic, and somehow very satisfying - all at the same time.
I never cease to be amazed at how skillfully-plotted and assembled this film is - considering the kind of movies Fulci would churn out later on. I can only surmise that, as the late-70s turned into the early-80s, cinematic gore and violence became more and more commercial at the Italian box-office, and Fulci was forced to move away from classy, elegant thrillers like THE PSYCHIC - and turn increasingly to graphic zombie flicks and deplorable films like THE NEW YORK RIPPER. What a shame.
And let me just add that the lovely Jennifer O'Neill, a top supermodel in the late-60s/early-70s before turning to acting, never looked more gorgeous than she did in this flick. Love her. Her touching performance as Virginia plays a key role in making THE PSYCHIC a gripping experience.
BEST SCENE: The ending. Wow. Just... wow.
TRIVIA: Quentin Tarantino is a huge fan of Gialli, and especially of THE PSYCHIC. So much so that he used its distinctive musical theme (a haunting melody of only seven piano notes) in Uma Thurman's hospital escape sequence in KILL BILL VOLUME 1.
#4. PHENOMENA (1985)
ENGLISH TITLE: PHENOMENA
CAST: Jennifer Connelly, Donald Pleasence, Daria Nicolodi, Patrick Bauchau, Dalilla DiLazzaro, Federica Mastroianni, Fiorenza Tessari, Mario Donatone, Fiore Argento.
DIRECTOR: Dario Argento
IT'S LIKE THIS: If there was ever an argument against sending your daughter to a Swiss boarding school, it's this movie. Jennifer Corvino (Jennifer Connelly), has recently arrived at the Richard Wagner International School For Girls - and quickly discovers that the place should really be renamed "the Richard Wagner International School For Bitches." Mainly because: (1) the students are all bitches, and (2) the teachers are all bitches. Oh, and if all that wasn't sucky enough, there's also a serial killer running around nearby, slicing up all these bitches and hiding their bitchy bodies. Hmmm..... well, maybe that last part isn't so bad. At least it keeps the bitch population down.
Pretty much the only person who isn't a bitch (or killing them) is local entomologist Dr. John McGregor (Donald Pleasence). In case you're wondering what an entomologist is, that is someone who studies insects, folks. But John isn't just your average insect expert: he specializes in Forensic Entomology - or in other words, CSI-with-bugs. Lots of them. Yup, seems like Johnny McG has been working with Inspector Geiger (Patrick Bauchau) on that pesky serial killer case - and John has helped Geiger determine time-of-death for several of the victims based on the activity of the insects on their remains. Yuck.
Before long, John strikes up a friendship with Jennifer - whom he meets one night while she is sleepwalking (don't ask). He discovers that she has the power to communicate with insects - and gradually comes to believe Jennifer's special ability just might be the key he needs to track the killer down. But who could the killer be? One of the bitches at the school? Inspector Geiger? Richard Wagner? Someone completely unexpected? And will Jennifer's power over insects protect her and John from the killer? Or is it the killer who needs protecting from them? Hmmmmmmm.....
WHY IT MAKES THE CUT: Quite simply, PHENOMENA is my favorite Dario Argento movie. On paper, the premise of an American schoolgirl using her telepathic connection with insects to battle the serial killer terrorizing her Swiss boarding school sounds absolutely ridiculous. However, as we've discussed in previous reviews, execution is everything. A good idea can be executed poorly, turning it into a weak film. Whereas a silly idea, given the right execution, can actually work and produce a strong movie. PHENOMENA is a perfect example of that. It takes a patently ludicrous idea - and moves forward with conviction and confidence. The result is an atypical Supernatural Giallo that succeeds because it risks a lot.
This film sharply divides Argento fans. Those who love it, love it passionately. Those who hate it, hate it with equal fervor. There's really no point in pointing out why the opposing camp is wrong, because they are entitled to their opinion. What we can say is we like PHENOMENA because of how different it is from anything else Argento has done, while still being undeniably a Dario Argento movie. This film breathes and drips style and atmosphere - and it's completely appropriate that it's set in Switzerland, with that country's chilly ambiance and slightly sinister beauty. The result is a film that, like its close cousin SUSPIRIA, has the feel of a nightmarish fairy tale.
Another reason PHENOMENA rates quite highly in our book is because of something that its detractors often overlook in their haste to lambaste its fantastic plot: the lead characters. Argento's best movies have consistently featured vivid heroes and heroines. Think of the wily-but-naive Sam Dalmas from THE BIRD WITH THE CRYSTAL PLUMAGE, the fire-and-ice combination of Gianna Brezzi and Marc Daly from DEEP RED; the sweet-and-spunky Suzy Banyon in SUSPIRIA, and the social-but-secretive Peter Neal in TENEBRE. PHENOMENA is no exception. Jennifer Corvino and John McGregor have a nice mentor-protege connection that is cemented by their shared status as brilliant outsiders, and their relationship is what gives this movie its emotional backbone. Jennifer Connelly and Donald Pleasence's chemistry goes a long way in selling these characters and their link to one another - and in doing so, they sell the story.
BEST SCENE: The opening killing of the first victim, Vera Brandt (Fiore Argento), a Danish tourist who gets lost in the Swiss countryside. And the long, dialogue-free sequence much later on wherein Jennifer uses a cadaver fly to lead her to the killer's lair.
TRIVIA: In Leonard Maltin's famous annual Movie Guide book, the two highest-rated Dario Argento films are SUSPIRIA and... PHENOMENA. Yes, folks: he rates PHENOMENA just as good as SUSPIRIA - and higher than DEEP RED. Nice to know that Maltin and his staff are part of the pro-PHENOMENA family. : ) Another big fan of this movie is director Tim Burton (BATMAN, BATMAN RETURNS, BEETLEJUICE, EDWARD SCISSORHANDS, SLEEPY HOLLOW). If Hollywood ever does a remake of PHENOMENA (and there have been talks, apparently) I hope Burton directs it.
ADDITIONAL TRIVIA: The costumes of the cast were designed by Giorgio Armani, a close friend of Dario Argento.
#5. SOTTO IL VESTITO NIENTE (1985)
ENGLISH TITLE: NOTHING UNDERNEATH
CAST: Tom Schanley, Renee Simonsen, Donald Pleasence, Nicola Perring, Paolo Tomei, Maria MacDonald, Catherine Noyes, Sonia Raule.
DIRECTOR: Carlo Vanzina
IT'S LIKE THIS: Wyoming park ranger Bob Crane (Tom Schanley) is having a great day - until he suddenly has a vision of his twin sister, Jessica (Nicola Perring), being murdered. Apparently, he and Jessie have shared a telepathic link since they were children - and have often "seen" through each other's "eyes." Which is pretty amazing, because Jessie is currently half a world away in Milan, where she is a top model. Fairly freaked out, Bob calls his sister's hotel in Italy. Getting no answer, he hops on the next Italia-bound flight to find out what's what.
Arriving in Milan, Bob finds out that Jessie has disappeared. He reports her missing to the local police and tells them about his "vision." They all pretty much laugh him off, with the exception of Commisario Danesi (Donald Pleasence), who takes a paternal shine to this goofy American from Bumfuck, Wyoming. Bob and Danesi investigate and soon find out that another model disappeared a month before Jessie did. The model's name is Christina Landolfi (Sonia Raule), and her vanishing may be connected to Jessie's.
What is exactly is going on here? Who can help Bob and Danesi? Jessie's fellow model pals, Margaux and Carrie (Maria MacDonald & Catherine Noyes)? Her other model friend, Barbara (Renee Simonsen)? What about the mysterious Milanese jeweler (Paolo Tomei) who is richer than fuck and was also, uh, fucking Jessie before she disappeared? What secret are these folks sharing between them? And why did Christina disappear in the first place? Hmmmmmmmmm......
WHY IT MAKESTHE CUT: The fashion world is a common setting in many Gialli. We first saw it in Mario Bava's classic Giallo, BLOOD AND BLACK LACE, in 1964. Other entries set in the Haute Couteur universe include THE RED QUEEN KILLS SEVEN TIMES (1972) and THE CASE OF THE BLOODY IRIS (1972), both featured in our WTF? GIALLI section, soon to come. In 1978, the American Giallo THE EYES OF LAURA MARS, starring Faye Dunaway and Tommy Lee Jones, pivoted around a glamorous, talented NYC fashion photographer who shares a psychic link with the killer targeting her social circle. Interestingly, THE EYES OF LAURA MARS, an American thriller influenced by Italian thrillers, is a direct influence on NOTHING UNDERNEATH - an Italian thriller itself. I guess in the Gialli world, everything comes full circle, whether we are dealing with American or Italian entries.
NOTHING UNDERNEATH has all the Gialli elements in place, with a paranormal twist: Bob's psychic connection to his sister, Jessica - who may or may not be dead. The central mystery is a solid one, and director Carlo Vanzina plays fair with the clues, parceling them out one-by-one until it becomes clear exactly what happened. He is careful to keep some cards close to his chest, though - which makes the revelation at the end of the movie surprisingly gripping. And, as appropriate to a thriller set in the Italian fashion world, Vanzina gives the film a sleek, polished look that complements his beautiful cast and locations. He is aided immeasurably by a lush, sweepingly sinister score by Pino Donaggio that gives the production additional class and atmosphere.
Donald Pleasence and Tom Schanley as Bob and Danesi are a solid sleuthing duo. Their pairing recalls the similar mentor-protege relationships between the investigative leads of THE CAT O'NINE TAILS (1971) and PHENOMENA (1985 - released the same year and also starring Pleasence), as well as looking forward to the protagonists of SLEEPLESS (2000). The female members of the cast are all strikingly attractive, not surprising since they are all playing models, and play their various roles competently. However, NOTHING UNDERNEATH belongs to its two male leads, and the paternal rapport they develop. The bond between Bob Crane and Commisario Danesi anchors this movie and gives it some welcome gravity.
BEST SCENES: The fashion show where Margaux walks the runway to the tune of the 80's classic "One Night In Bangkok" - only to get jumped by the killer backstage. Also, the final revelation of exactly what happened to Jessie - and Bob's confrontation with the killer.
TRIVIA: Donald Pleasence filmed this movie back-to-back with PHENOMENA, which filmed on location in Zurich, Switzerland, while NOTHING UNDERNEATH was based in Milan, Italy.
ADDITIONAL TRIVIA: A few years after NOTHING UNDERNEATH was released, female lead Renee Simonsen was reportedly offered the role of Pam Bouvier in the Bond flick LICENCE TO KILL (1989), but turned it down. This is fine with me, because as much as I like Simonsen, no one can top Carey Lowell’s performance as Pam Bouvier.
Please expect Parts 4 & 5 of our Gialli Sampler to post by next weekend – to be followed by the last of the Summer Reviews… Have a wonderful week…
GIALLI SAMPLER, PART 4: “WTF? Gialli”
GIALLI SAMPLER, PART 5: “American Gialli”
Ciao, ciao… Buona Fortuna…
