Italian Gothic Horror Films (1980-1989)

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Italian Gothic Horror Films (1980-1989) Page 29

by Roberto Curti


  speaking to Sonny from his headphones, it

  a prequel to Stuart Rosenberg’s 979 film, The

  would be only a matter of time before he’d pick

  Amityville Horror (the Montelli family of Dami-

  up a gun—that is to say, the tissue of family itself

  ani’s film standing for the De Feos in the previous

  is the foundation for evil. In this sense, Damiani’s

  one). The result, if superficially akin to possession

  film recalls such predecessors as Bava’s I Wurdalak

  films and closer to American Gothic, nevertheless

  and Giorgio Ferroni’s La notte dei diavoli (972),

  has a personality of its own.

  both portrayals of hidebound patriarchal fami-

  Damiani’s only out- and-out horror film,

  lies where repression and violence spawned

  Amityville II: The Possession dealt with themes

  tragedy. Here the unresolved issues take the

  the director had already touched during his ca-

  form of sibling incest before murder ensues,

  reer. He had already made a very interesting

  which gives the result a halo of morbidity akin

  Gothic in the 960s, La strega in amore, and had

  to Italian Gothic. Religion is powerless against

  dealt with the Devil in his 974 film, Il sorriso del

  it, because Father Adamsky (James Olson) rep-

  grande tentatore, a thought- provoking allegory

  resents that very system of Catholic values which

  set in a convent and starring Glenda Jackson and

  must prosper to spawn more monsters in its re-

  Claudio Cassinelli. Still, Damiani—never a self-

  cesses. It is indeed quite a different environment

  eulogic filmmaker—hastily dismissed Amityville

  than the problematic, but ultimately healthy one

  II: The Possession in interviews. “I followed a

  of Rosenberg’s film.

  script that already existed. It’s a movie that doesn’t

  The third act is much more conventional

  say anything, it just wants to scare people. You

  and predictable, and the script even throws in

  might say it’s a silly movie, and certainly I had no

  an image which combines The Sentinel and The

  urgency to make it, but it’s not badly made… . Ex-

  Shining—the deformed damned souls emerging

  orcism, appearances, diabolical things, it’s stuff I

  from the extradimensional threshold inside the

  was never much interested in. When man cannot

  house, announced by a river of blood on the

  explain the world by himself, then he invents

  floor. As the Monthly Film Bulletin reviewer ma-

  these stupefying things, which become almost a

  liciously put it, “unable to decide how to finish,

  consolation.”3

  Damiani and Wallace leave all four possible end-

  However, the director retouched the script

  ings intact: the uplifting (Sonny, freed, rises up

  here and there, adding some interesting ele-

  in a blaze of light), the “it isn’t over: the creature

  ments. Firstly, the family which falls under the

  walks among us” (Father Adamsky with undu-

  curse of the Amityville house and its evil entities

  lating rubber arms and throat), the ironic (a final

  is not very happy to start with. As we learn from

  pull back to the “For Sale” sign), and the apoc-

  the very opening sequence, the father of the

  alyptic (a ball of fire engulfs the house). The fact

  family Anthony Montelli (played by the ever-

  that they are mutually exclusive doesn’t appear

  slimy Burt Young, of Rocky fame) is a violent,

  to have bothered anyone.”4

  domineering type who makes life a living hell

  However, despite the script’s many short-

  for his wife and four sons. Montelli is the kind

  comings, the direction is never banal, and some-

  of patriarchal monster to be found in many ret-

  times refreshingly inventive. Damiani got to

  rograde families, the kind Damiani had depicted

  work with a mainly American crew and cast, but

  in his grim Sicilian Mafia drama La moglie più

  some of his key collaborators were Italian, most

  bella (970): he beats his children with his

  notably d.o.p. Franco Di Giacomo. “I see this

  trouser belt, harasses his 8-year-old first- born

  film in continuous movement,” Damiani told

  son Sonny (Jack Magner) as if he were a disobe-

  him. “You know, I’m not familiar with these

  dient kid whenever he has the chance to, keeps

  American actors. The moving camera helps me

  his poor spouse submitted like a slave, forcing

  a lot to tell the story.” The film does not feature

  her to have sex with him whenever he likes, and

  the Steadicam, but the director and Di Giacomo

  96 1982: Assassinio employed mainly hand- held camera and dolly

  bition than to traumatize particularly impres-

  shots, preferring to capture the disturbing at-

  sionable viewers.”8

  mosphere in long takes and with special effects

  In the meantime, Damiani had returned to

  performed on camera (such as in the chilling se-

  his favorite themes, and by this time he under-

  quence shot of an unseen presence that wanders

  stood the small screen would be the only way

  at night through the haunted house, or a candle

  he could develop them the way he wanted. His

  that won’t extinguish in Sonny’s birthday scene).

  TV mini- series on the Mafia, La piovra (984),

  They devised some remarkable shots, such as

  was a commercial triumph, with an audience of

  the one where the camera follows Sonny from be-

  over  million viewers. It would mark the his-

  hind, climbs over him and frames him from

  tory of Italian television indelibly, as well as the

  ahead, upside- down, before making a 80-degree

  collective imagination and everyday language.

  rotation on its axis and ending on a frontal close-

  up of the actor—an amazing visual stunt achieved

  Notes

  through a complex combination of a dolly and a

  1. Alberto Pezzotta, Regia Damiano Damiani (Udine:

  revolving device designed by Damiani himself.

  Centro Espressioni Cinematografiche—Cinemazero,

  Di Giacomo recalled that the scene was very dif-

  2004), 02.

  ficult to shoot, and it took at least three takes to

  2. Ibid., 30.

  achieve the desired effect. It is a testament to a

  3. Ibid., 04.

  period where bravura shots were the result of

  4. Nick Roddick, “Amityville II: The Possession,”

  Monthly Film Bulletin #86, November 982.

  an attempt to overcome the limitations of tech-

  5. Pezzotta, Regia Damiano Damiani, 308.

  nique: nowadays such a scene would be very

  6. Ernesto Baldo, “Ma quel bugiardo di Fellini in Amer-

  easy to accomplish, thanks to light video

  ica non c’è mai stato,” La Stampa, January 28, 982.

  cameras and post- production digital effects, but

  7. M. Po. [Maurizi
o Porro], “È il Diavolo stereo che rov-

  ina le famiglie,” Corriere della Sera, April 9, 983. The Pol-

  it wouldn’t have the same significance. Here,

  tergeist connection can be ruled out, however, since Ami-

  Damiani manages to wonderfully evoke the

  tyville II: The Possession was shot before Hooper’s film

  physical weight and consistence of evil. It’s a mo-

  came out.

  ment worthy of Bava, in an otherwise underrated

  8. a.v. [Aldo Viganò], “Il posseduto da Satana duella

  film.

  con l’esorcista,” La Stampa, May 24, 983.

  Shot mainly in Mexico City for economic

  reasons, starting in February 982,6 Amityville

  Assassinio al cimitero etrusco (The Scor-

  II: The Possession was released theatrically in

  pion with Two Tails)

  September of that year in the U.S., and reached

  D: Christian Plummer [Sergio Martino]. S:

  Italy only the following year: it was given a

  Ernesto Gastaldi, Dardano Sacchetti; SC: Ernesto

  V.M.8 rating “due to the particularly gruesome

  Gastaldi, Maria Chianetta, Jacques Leitienne;

  scenes and the theme which might influence

  DOP: Giancarlo Ferrando (Eastmancolor, LV-

  negatively adolescent viewers.” Released as Ami-

  Luciano Vittori); M: Fabio Frizzi (Ed. Clitumno);

  tyville Possession, it gathered moderately positive

  E: Eugenio Alabiso, Daniele Alabiso; PD, CO: An-

  reviews, despite the critics’ bias toward the

  tonello Geleng; AD: Massimo Manasse, Alain Sens

  genre. The Corriere della Sera wrote: “Retracing

  Cazenave; SS: Donatella Botti; C: Fabio Conversi;

  themes from The Exorcist, but also The Shining

  AC: Bruno Cascio; SO: Roberto Petrozzi; B: Raf-

  (the cascade of blood), Poltergeist (the house was

  faele De Luca; ACO: Rossana Romanini; W: Stella

  illicitly built on an Indian cemetery) and Entity,

  Battista; SP: Giorgio Garibaldi Schwarze; MU:

  without losing dignity compared with his Amer-

  Franco Rufini, Giovanni Rufini; Hair: Sergio Gen-

  ican colleagues, and cunningly mixing sex and

  nari; PrM: Adriano Tiberi; SE: Paolo Ricci; SPFX:

  blood… . Damiani manages to accomplish a

  Sergio Stivaletti; ChEl: Armando Moreschini; KG:

  spectacular result, even with a stale subject mat-

  Matteo Giordano; Generator Operator: Egidio

  ter.”7 La Stampa, even though pointing out that

  Stiffi; AE: Teresa Negozio; 2nAE: Monica Sabatini,

  “one could expect something more from Dami-

  Silvana Di Legge; Mix: Bruno Moreal. Cast: Elvire

  ani, a filmmaker of strong civic commitment,”

  Audray (Joan Barnard), Paolo Malco (Mike

  judged the director’s “American vacation” favor-

  Grant), Claudio Cassinelli (Paolo Dameli), Marilù

  able, and concluded that the film was “shot skill-

  Tolo (Countess Maria Volumna), Wandisa Guida

  fully, well- served by the special effects, well set

  (Heather Hull), Gianfranco Barra (Police Com-

  … played by physically fit actors, it does not fail

  missioner), John Saxon (Arthur Barnard), Van

  to grip, although it doesn’t display any other am-

  Johnson (Mulligan), Mario Cecchi, Franco

  1982: Assassinio 97

  Garofalo (Gianni Andrucci), Maurizio Mattioli

  with the help of archaeologist Paolo Dameli, and

  (Masaccio), Carlo Monni (Giorgio Senaldi),

  realizes that the murderer is trying to locate a leg-

  Anita Sagnotti Laurenzi (Prof. Sorensen),

  endary Etruscan treasure…

  Jacques Stany (Nick Forte), Luigi Rossi (Old

  Sergio Martino’s return to the thriller genre

  flute player), Nazzareno Cardinali (Maria’s

  took form as an 8-part TV series, originally

  Bodyguard), Angela Doria (Hilda), Antonio

  titled Il mistero degli Etruschi (or Lo scorpione a

  Maimone (Boss in New York), Fulvio Mingozzi

  due code) written by Ernesto Gastaldi from a

  (Customs Officer), Lucia Monaco (Julie), Mario

  story concocted with Dardano Sacchetti, to be

  Novelli (Maria’s Bodyguard), Bruno Rosa; un-

  produced for Turin’s Quartarete TV. It would

  credited: Bruno Alias (Townsman), Giuseppe

  be Martino’s first work for the small screen, co-

  Marrocco (Airplane Passenger), Ettore Martini

  produced by his brother Luciano’s Dania Film

  (Archeology Worker), Gennarino Pappagalli

  and Medusa, who secured also the distribution

  (Archaeologist), Anna Maria Perego (Elder

  rights for a theatrical version, put together

  Woman). PROD: Luciano Martino for Dania

  by drastically abridging the 8 parts, each 0

  Film (Rome), Medusa Distribuzione (Rome),

  minute- long.

  Imp.Ex.Ci.Sa. (Niece), Les Films Jacques Leiti-

  Such a project shows how television was

  enne (Paris). PM: Sergio Borelli, Maurizio Pas-

  gradually taking center stage in the market. As

  trovich; PS: Francesco Fantacci; PSe: Antonio

  Martino himself recalled in his memoirs,

  Saragò, Alberto Paluzzi, Colette Guedon; ADM:

  Danilo Martelli, Anna De Pedis. Country:

  until a few years earlier cinema, especially commer-

  Italy/France. Filmed on location at Volterra,

  cial one, didn’t have any outlet on TV, and the few

  Cerveteri, Formello, New York and at R.P.A.-

  movies that were broadcast on State television were

  Elios Studios (Rome). Running time: 98 minutes

  either great masterpieces or works of cultural

  interest. After their theatrical run, movies became

  (m. 2663); 80 minutes (TV version). Visa n.

  like yesterday’s newspaper, that is, wastepaper: no-

  78090 (9.0.982); Rating: all audiences. Release

  body thought they would have a future life, nor did

  dates: 9.7.982 (Italy), .24.982 (Spain),

  anyone foresee the future of commercial cinema on

  8.9.983 (Portugal), 8.24.983 (France); Distri-

  television. Only a few forward- looking individuals

  bution: Medusa. Domestic gross: n.a. Also known

  had imagined a possibility in this sense.2

  as: Crime au cimetière étrusque (France), El as-

  esino del cementerio etrusco (Spain), O Escorpião

  One of these individuals was Silvio Berlusconi,

  de duas caudas (Portugal), O Mistério etrusco

  who with his company Fininvest had quickly be-

  (Brazil), El asesino etrusco (Mexico).

  come the leader of the commercial network mar-

  Joan Barnard, a young American woman

  ket. Berlusconi had secured the TV rights to hun-

  with parapsychological powers, has recurring

  dreds of films, thus marking a dramatic change

  dreams of herself as an Etruscan priestess. Mean-

  of perspective: from the late 970s onward, people

  while, her estranged husband, archaeologist

  were becoming more and more addicted to tele-

  Arthur Barnard, discovers an Etruscan tomb in

  vision, not the least because they could comfort-

  Tuscany, but soon afte
r he is murdered in the

  ably watch all kinds of movies in their own living

  same way as the Etruscans killed their sacrificial

  room, instead of having to take the car, go to a

  victims, with his neck broken and his head twisted

  theater, pay a ticket and sit in uncomfortable,

  backwards. Joan flies to Italy to find out what

  smelly venues. This meant the beginning of the

  happened, accompanied by her friend Mike

  end for second and third- run theaters.

  Grant. But the killings continue, and two more

  Martino assembled a good cast which fea-

  victims are found with their necks broken. Joan

  tured Paolo Malco, Claudio Cassinelli, the still

  and Mike are joined by her father, Mr. Mulligan,

  ravishing Marilù Tolo, Luciano Martino’s ex-

  who finances Barnard’s research but is running a

  wife and former peplum starlet Wandisa Guida

  drug smuggling ring under the cover of his archae-

  (in her last film role), plus a couple of American

  ology business. Joan locates a secret tomb where

  has- beens (John Saxon, Van Johnson) in quick

  Arthur had hidden a crate full of heroin destined

  “special participations” and a supporting cast

  to Joan’s father, but the drug has disappeared. A

  which included the sleazy- looking Franco Garo-

  shootout between two rival gangs in the tombs

  falo as well as Tuscan comedian Carlo Monni

  ends with most drug traffickers dead, including

  (who had started as Roberto Benigni’s straight

  Mulligan. More killings ensue, and Mike is later

  man in their early appearances as a double act).

  found dead in the necropolis. Joan investigates

  The presence of a French co- producer, Jacques

  98 1982: Assassinio Leitienne (who also got a credit, purely for

  tivity and their capability to see beyond everyday

  bureaucratic reasons, as co- scriptwriter3) led

  reality. She is immediately introduced as a

  to Martino casting a French protagonist, the

  psychic, and her dreams and visions (starting

  blonde Elvire Audray, in her first starring role.

  with the opening credit sequence, which depicts

  Audray, who bore a passing resemblance to Ed-

  a sacrificial rite in an Etruscan tomb) reveal her

  wige Fenech, would star in several Italian films

  as the reincarnation of an Etruscan queen and

  over the next few years, including the hit

  high priestess (a so- called luchmon). In one of

  comedy Vado a vivere da solo (982, Marco Risi).

 

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