The script stems from an oft- employed
under the a.k.a. Eddy Endolf: “It was simply nec-
Gothic cliché, a curse from the past which per-
essary so as not to show that I was the protago-
secutes the hero. The theme is reminiscent of
nist as well, otherwise the distributors would
many other werewolf films, from The Wolf Man
not even take me into consideration!”3 He also
to the Waldemar Daninsky cycle, but Andolfi
did the editing, the special effects, and per-
adds more to the recipe, as the supernatural el-
formed a couple of stunts which another actor
ement is bizarrely inserted into a sketchy crime
was scared to attempt. Without any assistant di-
story about the Neapolitan crime syndicate, the
rector, he acted also as general manager and, for
Camorra, which aims at exposing its ties with
much of the shooting, as script supervisor. Dur-
politicians. A subplot has a commissioner in-
ing post- production he was the dubbing director
vestigating the Camorra’s involvement with a
for both the Italian and English language ver-
Senator, who maneuvers them for political as-
sions, and even dubbed seven characters; he per-
sassinations and violent acts; “Tomorrow night
sonally took care of the film’s theatrical release
Italy will tremble!” enthuses the commissioner’s
(which apparently took place in Sicily, in the
aide, after learning that many powerful names
cities of Palermo and Trapani) and took the film
have been exposed. This climaxes in a dialogue
to Milan’s MIFED fair to sell it abroad. “Since it
confrontation between the commissioner and
was my first movie and I came from the stage I
the politician, who rebukes the accusations by
was considered an incompetent, a fanatic able
objecting that “there are so many congregations,
only to waste money. Everyone felt compelled
or lodges, that nowadays like to put decent peo-
to act like slackers, alluding, stealing and other
ple into trouble,” a reference to the 98 “P2
pettiness … they did not know that I had an iron
Lodge” scandal that, if nothing else, underlines
fist, I was able to direct a thousand people like
that Andolfi’s story was several years old by the
44 1987: La croce time it was filmed. Incidentally, the political-The Sardinian- born Zoccheddu—a hair-
crime subplot is dropped at this point, and never
dresser- turned-actress who became one of Italy’s
mentioned again in the film. The happy ending
first porn starlets after her appearance in 98’s
features Andolfi (proudly wearing his cross on
Gocce d’amore—is one of several familiar faces
his chest) strolling with his girlfriend and their
that turn up during the movie. The female lead,
dog in St. Peter’s Square, presumably on their
Annie Belle (then undergoing a bad period
way to a hearing with the Pope, under the ac-
caused by alcohol abuse) did not remember
companiment of a religious choir and with Jesus
anything about the film.7 Gordon Mitchell and
Christ’s face (looking like it was taken from a
Giorgio Ardisson have minor roles, respectively
holy picture) superimposed on the dome of St.
as the cult leader, who in the end meets a grisly
Peter’s Basilica—an image which gives an idea
fate while Marco is freed from the curse (the
of Andolfi’s delusions of depicting the eternal
melting effect achieved via drawing exposed
struggle between Good and Evil…
parts of skull over his face), and as the “Sicilian,”
The special make- up effects consist prima-
an Italian- American Mafia boss. “Mitchell and
rily of a fur mask that covers the upper half of
Ardisson were professionals,” Andolfi recalled.
Andolfi’s face: during his werewolf scenes he
“They knew better, and they soon realized that
wears a pair of furry gloves and nothing else, ex-
I could improve upon them. They were always
cept for a much welcome stretch of fur above
punctual, obedient, professional, although their
his private parts. The central transformation
scenes could be shot in no more than two or
scene brings the viewer back to the glorious days
three takes.”8
of Universal 930s horror: for about 90 seconds,
The rating board gave La croce dalle 7
during a lingering close- up of Andolfi grinding
pietre.9 a V.M.4 certificate after a minor cut (4
his teeth, wolf- like fur appears progressively on
seconds) during the scene between Marco and
his face via a series of cuts. The goriest bit has
a man’s face inexplicably melt down while the
wolfman strangles him, while another scene
shows a woman’s face inflating and putrefying
in real time under Aborym’s demonic influ-
ence. Both effects were created by Lamberto
Marini and Angelo Mattei, with decidedly
poor results.
If Andolfi’s acting leaves a lot to be de-
sired, he is certainly not devoid of a good
dose of narcissism. Despite his far from out-
standing looks, all the girls fall for him in the
blink of an eye (“Look at that hunk!” a couple
of them comment as he sets foot in a disco).
On top of that, he has a lengthy nude sex
scene with a prostitute named Madame
Armisia (Zaira Zoccheddu), which climaxes
in Marco transforming into a monster and
killing the woman while still humping her:
Madame Armisia’s moans of pleasure turn
into horror and pain as the wolfman abun-
dantly drools on her. Speaking of which, the
author’s view on the opposite sex is problem-
atic to say the least: “I will forever have a neg-
ative memory of women. In La croce dalle 7
pietre there are many negative female char-
acters and only a positive one… . 90% of the
experiences I’ve had in Italy with women
Italian poster for La croce dalle 7 pietre (1987, Marco
were negative. All of them sex- hungry, or du-
Antonio Andolfi). the tagline promises “Mistero,
plicitous, or aiming at something, and so on.
intrigo, amore, orrore” (Mystery, intrigue, love, hor-
Treacherous. Evil.”6
ror).
1987: La croce
4
Armisia—quite surprisingly, given Andolfi’s in-
senior” he is his older self, whereas as “Eddy En-
sistence on demented sex encounters between
dolf Junior” he appears in the footage from La
women and monsters, also in the flashback that
croce delle 7 pietre. Finally, he is credited as
graphically depicts Marco’s mother mating with
“Marco Antonio Andolfi” for the role of Abo-
the grotesque demon Aborym. The movie dis-
rym. The author’s ideas and delusions are well
&nb
sp; appeared almost immediately and turned up
expressed in the following excerpt from a 2008
only several years later among collectors, where
interview:
it acquired an underground cult fame under the
Riecco Aborym can be seen as a short film, a TV
phony title L’uomo lupo contro la camorra (The
movie, but also as a fiction documentary. It was born
Wolf Man vs. the Camorra).
a bit like La croce dalle 7 pietre. I went to Kiev, looking
In 99 Andolfi assembled a re- edited ver-
for a job; I had to script and direct about 20 films, and
sion, called Talisman, with money from foreign
I was in talks with the local State television. There
investors. The new edit partially reshaped the
was a woman involved and … I was kidnapped. All
story, turning Marco Sartori’s curse into a
this happened to me in early 2007, and I wrote the
cosmic tale of evil. The prologue opens in the
script for the small fiction documentary some time
year 962 with a line that reads as follows: “In
later. I asked for a financing to IMAIE and I built the
the heart of Africa, a precious talisman was kept,
movie around my misadventure—to be kidnapped
which radiated well- being. One day it was
and betrayed by the woman who went to bed with me
stolen, and all over the world famines, war and
and seemed mad with love, and who at the end even
disaster started.” The new edit features shot- on-
wanted to kill me. Instead of the Ukranians, I put Ro-
manians in my film, also to give the story an actual
video scenes of African tribal dances taken from
feel, which is not so far removed from the facts you
some newsreels and documentaries, plus footage
hear every day—of Romanians sneaking into houses
from the 990s Balkan wars, as well as excerpts
and stealing everything, because they are like night
from other films (a snake coming out of a skele-
wolves. And then, she, who looked so much in love,
ton’s mouth comes from The Serpent and the
and is supposed to have undergone so many misfor-
Rainbow) mixed with the original black mass
tunes with Eddy, because of the cross, the evil, the
prologue. Accordingly, Andolfi could even use
Romanians etc., at the end it is she who betrays me.2
some outtakes given to him by the producers of
The NeverEnding Story. An epilogue dated 999
Notes
shows someone putting away the cross in its
1. “My starring role in Il delitto Matteotti was 00%
case, followed by more documentary footage
sure. Then Franco Nero fell in love with the role, and he
(windy mountains and tropical fish swimming
played Matteotti. That was a film where I played the whole
in the ocean) and African dances, hinting that
second part, and in the movie, everyone talked about me
(perhaps) the world is now at peace.
[as Matteotti].” Luca Ruocco, “Riassumendo Marco
Antonio Andolfi,” Rapporto Confidenziale #0, December
In the new opening credits, Mitchell is
2008, 2.
credited under his real name Charles Pendleton
2. Ibid.
(misspelled as “Pendelthon”), while Annie Belle
3. Luca Ruocco, “Discutendo con Marco Antonio An-
becomes “Annie Silvie”; the music is credited to
dolfi [Eddy Endolf] dell’importanza di avere uno pseudon-
imo e delle molteplici forme del demonio,” Rapporto Con-
“Jay Horus and Raphael Pike” thus confirming
fidenziale #0, 23.
the rumors that have Horus as an a.k.a. of Paolo
4. Marco Antonio Andolfi interviewed in CineWalk
Rustichelli (who scored the original version);
OfShame (https:// cinewalkofshame. wordpress. com/ tag/
the direction is credited to “Allan Fleming.” The
eddy- endolf- intervista/).
5. Not counting, of course, Claudio Fragasso’s Monster
film is listed as a “United Artists Company Pro-
Dog, a.k.a Leviatán produced with Spanish funds by
duction,” with “Seven Stars Pictures” as co-
Eduard Sarlui and filmed in Spain.
producer.0 Talisman was distributed abroad and
6. Ruocco, “Discutendo con Marco Antonio Andolfi
apparently gained some cult following in Japan.
[Eddy Endolf] dell’importanza di avere uno pseudonimo
But Andolfi felt there was more to tell
e delle molteplici forme del demonio,” 24.
7. Manlio Gomarasca and Davide Pulici, 99 donne.
about his filmic alter ego. Twenty years later he
Stelle e stelline del cinema italiano (Milan: MediaWord Pro-
wrote, directed, starred in, etcetera, the 30-
duction, 999), 73–74.
minute featurette Riecco Aborym, which recycles
8. Marco Antonio Andolfi interviewed in CineWalk
footage from the previous film(s) and is, if pos-
OfShame.
9. The official ministerial papers and the on- screen
sible, even more racist and misogynist—not to
title list the film as La croce dalle 7 pietre, while the posters
mention inept. Andolfi the actor gets all of three
spelled it as La croce dalle sette pietre.
distinct mentions in the credits: as “Eddy Endolf
10. Here are the rest of the bogus credits (misspellings
46 1987: Spettri included): The cast features Paul Travis, Jean Louis
Note: the song “Never Change” (P.L. Ger-
Serrault, Susan Shadix, Nicholas Muré, John Hicks, Elena
mini—A. Cicco) is performed by Blue Visconti.
Patnova; Casting by Wendy Zmann and Gerarda Monie;
Rome. A team of archaeologists led by
Executive producer: Mark Jess Medawar; Editor: Anthony
Schwartz; Production designer: Jhon Charris, Jr.; Director
professor Lasky discover an ancient tomb, protected
of Photography Ed Charters; Written by Alan Fleming and
by an ominous inscription which alludes to an evil
Richard Garris; Produced by Alice Wess, Sam Reeves.
force being buried in it. Soon strange events follow,
11. IMAIE (Istituto mutualistico per la tutela degli
which affect not only the archaeologists, but also
artisti interpreti ed esecutori) is an institution which pro-
tects the rights of artists and performers of musical, cine-
those who are close to them. Alex, a female singer
matographic and audiovisual works that are reused or
and the fiancée of Lasky’s assistant, Marcus, expe-
broadcast on radio, television or any other user entity.
riences frightening visions. Several people fall victim
IMAIE’s activity is to collect, on behalf of the performers,
to the evil demon: a night club owner, a member of
the proceeds due to them following the reuse of their
Lasky’s team, a gay antiquarian and his right- hand
works, and, after identifying those entitled to compensa-
tion, distribute the proceeds collected.
man. Alex is abducted by the monster in her bed.
12. Ruocco, “Riassumendo Marco Anto
nio Andolfi,”
After discovering that the bones buried in the tomb
22.
are not human, Marcus and Lasky descend under-
ground, to finally face the monster…
Spettri (Specters)
Marcello Avallone’s fourth feature film
D: Marcello Avallone. S: Marcello Avallone,
came a full decade after his third work, Cugine
Andrea Purgatori, Maurizio Tedesco; SC: Marcello
mie (976), an erotic comedy which underwent
Avallone, Andrea Purgatori, Dardano Sacchetti,
lots of trouble with the censors. The director
Maurizio Tedesco; DOP: Silvano Ippoliti (Kodak);
explained that the idea of toying with the horror
M: Lele Marchitelli, Danilo Rea (Ed. Gatta Ci
genre had come to him several years earlier, dur-
Cova); E: Adriano Tagliavia; ArtD: Carmelo
ing a work trip to the United States:
Agate; CO: Paola Collacciani Bonucci, Maurizio
It was just 980. I was there because Francis Ford
Marchitelli; MU: Dante Trani; SPFX: Sergio Sti-
Coppola’s company Zoetrope was producing a doc-
valetti; AD: Vivalda Vigorelli; SS: Daniela Tonti;
umentary on new American cinema, together with
C: Enrico Sasso, Ettore Corso, Enrico Fontana;
Marina Cervi, who represented RAI. Doing this
AE: Graziella Zita, Delia Apolloni; SO: Davide
work, I immersed myself in the air that you breathed
Magara; B: Stefano Rossi; Hair: Maria Fiocca,
there, and I understood how much this kind of cin-
Claudia Reymond Shone; SPFXAss: Barbara Mo-
ema—let’s call it horror, even though I don’t know if
rosetti; ChEl: Sergio Spila; El: Marcello Cardarelli,
we can really call it horror—met the public’s taste… .
Franco Cardarelli; KG: Mario Occhioni; G:
I realized how strong an impact it had in America.
Roberto Anzellotti, Roberto Rosati; W: Emanuela
By then, almost all the horror movies that were made
Curatolo; Press: Anna Rosa Morri; SOE: Cine-
there were “B” pictures, but not in a derogatory
sound; SP: Pennoni & Serto; Mix: Danilo Moroni.
sense… . So, I came back to Italy with the idea of
making a horror movie.2
Cast: John Pepper (Marcus), Katrine Michelsen
(Alex), Donald Pleasence (Prof. Lasky), Massimo
In the following years Avallone returned to
De Rossi (Matteo), Riccardo De Torrebruna (An-
the genre with a three- part TV program called
drea), Lavinia Grizi (Barbara), Riccardo Parisio
Il cinema della paura, co- directed with Patrizia
Italian Gothic Horror Films (1980-1989) Page 44