Italian Gothic Horror Films (1980-1989)

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Italian Gothic Horror Films (1980-1989) Page 34

by Roberto Curti


  Marina Hedman (Maria), Aldo Sambrell [Aldo

  Aguilar family are dispatched by the vengeful

  Sanchez Brell] (Antonio Aguilar), Alfonso Gaita

  spirit…

  (Ignazio Aguilar), Joe Davers [Giuseppe Car-

  “Remaking Malabimba was a stupid move.

  bone] (Isidro), Giancarlo Del Duca (Dr. Juan

  I didn’t want to do the sex scenes. I felt used,

  Suarez). PROD: Gabriele Cristanti for Filmarte;

  abused and exploited,” Mariangela Giordano

  PM: Gabriele Crisanti; PS: Marcello Spingi; PSe:

  commented about her last film with her then-

  Gianfranco Fornari, Giancarlo Straniero, Mirella

  partner, producer Gabriele Crisanti, which

  Cavalloro. Country: Italy. Filmed on location at

  marked not only the end of their artistic collab-

  the Castle Piccolomini, Balsorano, Palazzo

  oration, but of their personal relationship as

  Braschi (Rome) and at Icet- De Paolis Studios

  well. Between 979 and 98, Crisanti had in-

  (Milan). Running time: 74 minutes (m. 2024;

  volved the actress in a handful of flicks that

  softcore version); 88 minutes (hardcore version).

  stand out among the most extreme products of

  Visa n. 77904 (6..982); Rating: V.M.8. Release

  the era, because of their sheer amount of sex and

  dates: 2.2.983 (Spain, softcore version),

  violence: Mario Landi’s Giallo a Venezia and

  7.29.983 (Italy); Distribution: Film 2. Domestic

  Patrick vive ancora, and Andrea Bianchi’s Mal-

  gross: n.a. Also known as: Orgasmo di Satana

  abimba and Le notti del terrore.

  (Italy; hardcore version); La hija de Satanás

  In a shameless recycling move, Crisanti and

  (Spain), Dr. Porno und sein Satanszombie (Ger-

  screenwriter Piero Regnoli opted for a retelling

  many; hardcore version); Sexorgien im Satan-

  of Malabimba with minimal changes, even re-

  schloß (Germany; softcore version).

  casting Giordano in the same role as the unfor-

  In a remote Spanish castle, the Aguilar

  tunate nun who becomes the spirit’s last victim.

  family is mourning the passing of Countess Maria,

  The malevolent spirit who possesses the teenage

  2 1983: La bimba girl is that of the mysteriously deceased Countess

  normal powers who would be in a trance in sev-

  Maria (we will later find out that she has been

  eral scenes.4 The project never took off.

  murdered). She proceeds to kill her heroin-

  Apart from the sex scenes, Hedman’s acting

  addicted widower, his wheelchair- bound brother-

  consists mostly in lying still over a grave in the

  in-law, the family doctor, a novice named Sol—

  nude, pretending to be dead. Giordano, for her

  all of them her previous lovers—and a scary-

  part, takes off her clothes with admirable abne-

  looking butler who is also an expert on the su-

  gation, and a scene where her character washes

  pernatural, and who concocted an arcane ritual

  Ignazio’s pubic area with a damp cloth testifies

  to bring her back to life. In the end, the infamous

  to the actress’ willingness to do anything for

  lesbian seduction- cum-fisting scene of the 979

  Crisanti. As for the elusive Jacqueline Doupré,

  film is replaced by a Sapphic interlude atop a

  who reprises Katell Laennec’s role in Malabimba

  tomb between Maria and Sol which ends, as in

  and, despite amply showing her body, does not

  Venus d’Ille, with the novice being crushed to

  perform any explicit sex scene, she mustn’t be

  death between her lover’s arms, possibly evidence

  confused with the French porn actress

  of Regnoli’s literary erudition rather than an un-

  Catherine Doupré. Bianchi recalled: “Jacqueline

  likely homage to the late Mario Bava.

  Doupré was a stage name, because she was a gal

  Unlike most of Crisanti’s earlier sex-

  horror hybrids, the target for La bimba di Sa-

  tana was the hardcore porn market, which by

  then was in full bloom. The casting of Marina

  Hedman Bellis, then Italy’s most famous porn

  star (better known to the public as Marina

  Frajese, or Marina Lothar), was telling, as was

  the presence of Alfonso Gaita, a regular of

  early Italian hardcore. Director Mario Bianchi

  (Roberto Montero’s son, and only a namesake

  of Malabimba’s director Andrea Bianchi) cast

  his friend Aldo Sambrell, a recurring presence

  in the director’s early Westerns, as the repug-

  nant, drug- addicted Antonio Aguilar: “When

  there was need of this kind of father figure, or

  a king like in Biancaneve & co., I called him,

  and he came over, for two farthings, and

  sometimes he did not even get to have those!”2

  Bianchi was probably relying on Sam-

  brell to sell the product in the latter’s home

  country (hence the Spanish setting). The

  actor was even involved in one of the non-

  simulated sex scenes with Marina Hedman,

  which he later recalled as follows: “We had

  to shoot a love scene, Marina and I… Well, I

  was lying on the bed, waiting for her, and

  when she showed up we started making out;

  after a while I realized that she was doing

  it for real and I had to stop her and call

  Crisanti, the producer, because I could not

  work that way.”3 Sambrell was replaced by

  Gaita for the explicit close- ups. As for the

  weird- looking character actor Giuseppe

  “Pino” Carbone (credited as “Joe Davers”),

  he was a self- appointed clairvoyant: a couple

  of years earlier the press reported that Car-

  bone was about to direct a feature- length film

  the Italian poster for La bimba di Satana (1983),

  titled La fattura, starring people with para-

  inspired by Boris Vallejo’s 1979 painting Vampire’s Kiss.

  1983:La bimba

  3

  who lived in Ostia, but I can’t remember the real

  the Public Cinematographic Register filming

  name, and however I think the poor girl only

  started on August 77), La bimba di Satana was

  did this movie.” One can understand why, since

  submitted to the rating board in June 982, in a

  Doupré pales in front of her model, and in fact

  softcore version which ran slightly over 73 min-

  she is actually given little to do in the film.

  utes and got away with a V.M.8 certificate after

  Compared with the already threadbare

  a cut (for about 2 seconds) in the sex scene be-

  narrative of Malabimba, La bimba di Satana

  tween Hedman and Sambrell, in “the part where

  gives new meaning to the word “minimalistic.”

  the woman’s mouth slides over her husband’s

  The cast comprises only seven people (plus a

  lower belly.” The board justified the rating not

  rotten- looking zombie mummy that pops up

  only because of the abundant sex and nudity,


  just in time to dispatch the butler), who for most

  but also because of the rooster sequence as well

  of the running time wander in the empty castle,6

  as the bit in which Sambrell’s character shoots

  its crypts and dilapidated surrounding, in long,

  heroin, which “lingers on the technique to inject

  dialogue- less sequences accompanied by Nino

  drugs.” It was released only the following year,

  Catanese’s score, which combines Goblin- esque,

  in late July 983.

  keyboard- driven parts, eerie chants and dis-

  Crisanti likely attempted to have it both

  torted guitars. The ghost story elements are

  ways, with an erotic horror movie that could be

  barely sketched too: in a lengthy sequence Isidro

  safely distributed in regular theaters as well as an

  the butler falls into an epileptic trance in the

  out- and-out porn version. However, the latter, ti-

  crypt while evoking the spirits of the dead, with

  tled Orgasmo di Satana, likely fell into oblivion,

  the camera following his grimaces and convul-

  and over the years Bianchi and Crisanti repeatedly

  sions in close- up, and a subjective POV shot

  denied its existence, despite the scant running

  traverses the empty halls and corridors, accom-

  time of the existing prints would suggest other-

  panied by heavy breathing on the soundtrack,

  wise.8 It finally resurfaced in 2007 on German

  to Miria’s bedroom. It climaxes with Isidro

  DVD.9

  biting the neck off a rooster like a sideshow

  The hardcore version credits Bianchi with

  geek.

  his own name and includes five sequences not

  When the actors open their mouth, it gets

  included in the softcore prints (where the direc-

  worse. Isidro’s monologues are a hodgepodge of

  tor is credited as “Alan W. Cools”). First is the

  lowbrow mysticism, and when Sambrell’s char-

  two- minute pre- credit (simulated) lesbian se-

  acter becomes verbally abusive toward Sol, he

  quence between Mariangela Giordano and Ma-

  comes up with such laughable lines as “Even

  rina Hedman. It is shot from below and has the

  though you’re not a nun yet, desecrating a temple

  hand- camera slowly circling around the two

  has always been my dream!”

  women: Marina is kneeling as in adoration be-

  Admittedly, Bianchi tries to inject some style

  fore the other woman, who is standing atop a

  in the proceeding. He makes use of tracking

  table like a living statue and wears only white

  shots, and even films a scene in a long take,

  stockings, and the shots of the two lovers are in-

  when Antonio takes his wheelchair- bound

  terspersed with images of the frescoes on the

  brother Ignazio to the crypt to let him die of

  place’s walls and ceiling. The other four se-

  starvation (Ignazio will meet another grisly fate,

  quences are Giordano’s lengthy masturbation

  not before being orally pleasured by Maria’s

  scene, which features next- to-hardcore details;

  ghost). The camera, placed on the wheelchair

  a hardcore scene (about six minutes long) in-

  between Gaita’s feet, accompanies the two actors

  volving the Swedish actress and Gaita, which

  in a low- angle shot across the rooms of the

  restages the infamous fellatio scene of Mal-

  castle, as Sambrell hams it up, exposing his

  abimba, for what can well be the movie’s pièce

  deadly plan while pushing the wheelchair and

  de resistance; the aforementioned four- minute

  Gaita impassively listening to him (the character

  hardcore sequence between Hedman and Sam-

  is supposed to be a vegetable after a stroke)

  brell, with the latter replaced by Gaita in the

  while using only his eyes to simulate concern—

  hardcore close- ups; and, finally, a brief Sapphic

  a moment which at least shows an attempt at

  scene between Giordano and Doupré.

  mise-en-scène, in a movie which otherwise lacks

  Despite the director’s assurance that the film

  any semblance of rhythm, suspense, and narra-

  “performed very well worldwide,”0 La bimba di

  tive progression.

  Satana was released theatrically only in Spain,

  Shot in the Summer of 98 (according to

  in 983, several months earlier than in its home

  4 1983: Zeder country, in a softcore version titled La hija de

  Belletti (Don Emidio), Paolo Bacchi (Mr. Big’s

  Satanás.

  Secretary), Giuseppina Borione (Helena, First

  Victim), Imelde Marani (Nurse), Gianluigi Gas-

  Notes

  pari, Carlo Schincaglia (Don Luigi Costa), Lu-

  1. Alan Jones and Mark Ashworth, “Diva Divina. The

  ciano Bianchi, Pino Tosca, Giovanni Bussadori,

  Mariangela Giordano Story,” in Stefan Jaworzyn (ed.),

  Sergio Lama, Giuseppe Lentini, Giancarlo Ban-

  Shock Xpress #2 (London: Titan Books, 994), 72.

  dini; uncredited: Ghilka Muzzi Matteuzzi (Ms.

  2. Stefano Ippoliti and Matteo Norcini, “Mario

  Hubert). PROD: Gianni Minervini and Antonio

  Bianchi. Il mio cinema pizza e fichi,” in Cine 70 e dintorni

  #, Summer 2004, 28.

  Avati for A.M.A. Film (Rome), with the collab-

  3. Gian Luca Castoldi, “Aldo Sambrell. L’uomo che

  oration of Enea Ferrario for RAI- Radio Televi-

  morì 000 volte,” Amarcord #6, January/February 999,

  sione Italiana; PM: Francesco Guerrieri; PS:

  84.

  Luca Bitterlin; PSe: Rosa Mercurio; ADM: Raf-

  4. Reported in Cinema d’oggi, September 2, 979.

  faello Forti; Cash: Francesca Moneta. Country:

  5. Ippoliti and Norcini, “Mario Bianchi. Il mio cinema

  pizza e fichi,” 28.

  Italy. Filmed on location in Bologna, Milano

  6. The castle seen in exterior shots is Castle Piccolo-

  Marittima and Cesenatico, Chartres (France)

  mini in Balsorano, whereas the indoor scenes were filmed

  and at R.P.A. Elios Studios (Rome). Running

  at Palazzo Braschi, in Rome.

  time: 00 minutes (m. 27). Visa n. 7886

  7. Filming was also reported in Cinema d’oggi, Sep-

  tember 22, 98. The script deposited at Rome’s CSC is

  (2.9.983); Rating: V.M.4. Release dates:

  dated July 98.

  8.0.983 (Italy), .8.984 (USA); Distribution:

  8. The Italian softcore version released to VHS on the

  Gaumont (Italy), Motion Picture Marketing

  Video Arcadia label ran only 64 minutes.

  (USA). Domestic gross: 334,000,000 lire. Also

  9. The U.S. DVD release, on the Severin label (as

  known as: Revenge of the Dead (USA), Zeder—

  Satan’s Baby Doll), includes the softcore cut, whereas the

  German one, on the X- Rated label and with the title Dr.

  Denn Tote kehren wieder (West Germany)

  Porno und sein Satanszombie, is the hardcore version.

  Chartres, France, 1956. In an isolated villa
,

  10. Ippoliti and Norcini, “Mario Bianchi. Il mio cinema

  Dr. Meyer conducts an experiment with the assis-

  pizza e fichi,” 28.

  tance of a young girl with psychic powers, Gabriella

  11. According to the official ministerial data, it was seen

  by 20,230 spectators and grossed an amount corresponding

  Goodman, to find the grave of the mysterious Paolo

  to about 30,200 euro. (http:// infoicaa. mecd. es/ CatalogoICAA/

  Zeder. Gabriella is attacked and mutilated by a

  Peliculas/ Detalle?Pelicula= 76).

  monstrous being, and human remains are found

  in the villa’s basement, which Meyer identifies as

  Zeder (Revenge of the Dead)

  Zeder. Bologna, 1982. A young novelist, Stefano, is

  D: Pupi Avati. S: Pupi Avati; SC: Pupi Avati,

  given by his wife Alessandra an old typewriter as

  Maurizio Costanzo, Antonio Avati; DOP: Franco

  a present. Stefano notices on the old ribbon a mys-

  Delli Colli (Technovision-Telecolor, Kodak); M:

  terious message about the so- called “K-Zones,”

  Riz Ortolani (Ed. New Point); E: Amedeo Salfa;

  areas where death ceases to exist and bodies can

  PD: Giancarlo Basili, Leonardo Scarpa; CO: Steno

  return from the afterlife, which had been researched

  Tonelli; MU: Alfonso Cioffi; AD: Cesare Bastelli;

  in the early 1900 by a scientist named Paolo Zeder.

  APD: Laura Casalini; C: Antonio Schiavo Lena;

  Intrigued, Stefano starts investigating, and becomes

  AC: Andrea Barbieri; AE: Piera Gabutti; 2ndAE:

  increasingly obsessed with the mystery around

  Loretta Mattioli; SO: Raffaele De Luca; B: Paolo

  Zeder and the K- Zones. His investigation leads him

  Cottignola; Mix: Romano Checcacci; SOE: Lu-

  to a secluded area near Rimini, where a team of

  ciano Anzellotti, Massimo Anzellotti; SP: Pier-

  scientists from the Vatican, led by Dr. Meyer and

  maria Formento; SS: Fiorella Lugli; W: Luisa

  Ms. Goodman, are conducting secret experiments

  Cavazza, Clara Masina Berti; PrM: Faliero Reg-

  with surveillance cameras and monitors. The prop-

  giani. Cast: Gabriele Lavia (Stefano), Anne

  erty is sited on a K- Zone, and the object of the ex-

  Canovas (Alessandra), Paola Tanziani (Gabriella

  periments is a dead defrocked priest, Don Luigi

  Goodman), Cesare Barbetti (Dr. Meyer), Bob

  Costa. Stefano, who has rented a room in a nearby

  Tonelli (Mr. Big), Ferdinando Orlandi (Giovine),

  motel, witnesses Costa’s return from the dead as a

 

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