copycat1025 Reviews

The French Sex Murders (1972)

Mid-grade Italian giallo..

[8 May 2004]

Here's an interesting film to watch on those late nights when you can't find anything else, and you're in the mood for that old misogynistic sleaze that used to mark Italian films of the early 70's. The plot is a bit convoluted, but here goes.

When Francine (Bouchet), a prostitute, is knocked off, the main suspect, a guy named Gavalles, is sought by the police. He was one of the regular clients of the whorehouse where Francine worked, but he seeks refuge from the law, as he claims he didn't commit the crime. However, during a chase, he is decapited as his motor-bike collides into the back of a tractor-trailer.

The police think that's the end of the murderer, but soon another prostitute is killed. Inspector Fontaine is put on the case, and as he begins probing around, he finds several suspicious individuals who knew the deceased women. One of these suspects is a journalist; another is a famous doctor named Waldemar; another is a criminal magistrate who was intent on convicting Gavalles for the first murder. And finally, there is Madame Colette (Anita Ekberg), the proprietor of aforesaid whorehouse. Now comes the task of figuring out the identity of the killer. And as Fontaine gets deeper into the case, the killer strikes again and again.

Here's a modest giallo outing, obviously made to "cash in" on the then prolific market of horror thrillers. The general mood is seedy and low-key, and the cheap sets decorated with phony Rennaisance art are a lame attempt at adding sophistication to a hastily made film. Howard Vernon here steals the show as Waldemar, who investigates the eyeballs taken from Gavalles' corpse, mashing them to a pulp with his scalpel, as if he were to looking for peals. Nevertheless, it's good fun.

Professional Humphrey Bogart look-alike Robert Sacchi plays the detective. He gives a decent performance, but doesn't live up to his mentor's standards. Actually, the film gives him very little opportunity to act, as the number of characters and constant plot twists keep him at a deadpan level. We never even get a close shot of his face. The murders are violent, but there is little bloodshed. The sound effects are rather odd; when one of the girls is murdered, it sounds as if someone is clashing cymbals. The main show here comes at the end, when we think the killer's identity has at last been discovered. However, we're in for a few surprises; and that's what makes this film worth watching, apart from seeing Barbara Bouchet and Anita Ekberg.

Director Merighi was none too prolific, and he remains a minor figure in the pantheon of Italian cult cinema. He made his debut in 1957 with the melodramatic crime film "The Sun Will Return" (Il Sole Tornera'), which starred future director Roberto Mauri. He is also known for directing the 1972 spaghetti western, "They Called Him Trinity."

The Blind Woman of Sorrento (1934)

Finely-polished period piece.

[8 May 2004]

(Some spoilers) Lately I've become more and more interested in Italian films of the fascist period. This little known masterpiece, directed by Nunzio Malasomma, the man best known, perhaps, for directing the classic spectacle "Revolt of the Slaves," confirms my opinion that many of the most memorable themes of Italian film were best put to use before the highly-touted (albeit, for good reason) 1957-1965 period, when the great cogs and wheels of the classic Italian cinema worked their last magic, before at last capitulating to the cultural trends of the U.S. The film is set in 1844. Dria Paola plays Beatrice, a blind woman, who as a child witnessed the brutal murder of her mother, by a bandit with political persuasions. Ten years previously, the wrong man was executed for the crime, and the convicted man's son, who has become a famous doctor, agrees to perform an operation on Beatrice which could restore her vision. At an elaborate country villa, Beatrice resides with her father, a professor, who encourages the doctor to perform the operation. The doctor soon falls in love with Beatrice, but at the same time the real murderer, fearing that she'll receive her sight and be able to recognize him as the killer, comes to the estate masquerading as a doctor, and tries to put the kabosh on things. The operation is performed, and the girl recovers her sight. However, the bandit still has his eyes on her, and although she doesn't recognize him as first, his piercing eyes, which were the only things she saw on that dark gloomy night ten years ago, will at last betray him in a compromising moment. This film is shot with care, the sets tastefully decorated, and the acting very nicely done. Director Malasomma earns his title as "artistic director" which in Italian films was almost the literal job of director, who often had to rely upon his own resources to make a film come out well. Malasomma directed some other costume adventures of note, which I'm trying to locate, so if anyone knows their whereabouts, I hope they would contact me for a trade.

La bravata (1977)

Trademark exploitation from Italy..

[3 January 2004]

While on a joy-ride, a group of kids hijack a car belonging to the mob. Little do they know it, but the trunk contains thousands of dollars of dirty money. The mob boss soon sends out his top thug (played by Venantino Venantini) to locate the missing cash and punish the kids who ripped him off. This is a really fast-paced crime drama, which contains moments of attempted humor, as the two main characters try frantically to get their money back and thus prevent being punished by the "big boss." It is also worth viewing if you're a fan of Ajita Wilson, as she plays a prominent role throughout.

Balboa (1963)

A reasonably accurate historical film..

[3 January 2004]

Frank Latimore is cast as Balboa, the heroic Spanish explorer who discovers the Pacific Ocean. Along the way, he must pacify the wrath of his enemies and battle his way through a forest inhabited by savage natives. This one features some really nice battles, stunning ocean photography, and tolerable reconstruction of historic events. The romance between the Balboa and the Indian queen is of course fake, but adds to the drama and spectacle of it all.

The Black Abbot (1963)

Atmospheric Edgar Wallace thriller!

[3 January 2004]

Atmospheric Edgar Wallace thriller, about a large treasure hidden in an old country estate. Several persons show up, who happen to be employed by the lord of the estate, but only to get their hands on the treasure. However, a black-hooded killer soon makes his entrance, and begins killing those who know the secret. This is one of the better Edgar Wallace thrillers I've seen to date, and features some really spooky scenarios.

Agguato sul mare (1955)

Colorful Italian melodrama..

[3 January 2004]

In this Italian drama, a poor fisherman (played by Ettore Manni) is forced to work for a smuggling operation. Separated from his wife for many years, he at last returns home, and must battle an old nemesis who has taken a fondness towards her. Nice maritime photography and colorful seaside settings highlight this film, which is very typical of the melodramatic romances Italy churned out during the 1950's. It is also a nice role for actor Ettore Manni.

Capitan Tempesta (1942)

Monumental Italian adventure epic...

[3 January 2004]

In 1570, the Turks lay siege to the Mediterranean city of Famagusta. In order to procure military help and supplies, Marcello Corner (Adriano Rimoldi), a young soldier, is sent on a secret mission to Venice. While he is gone, his fiancée (Carla Candiani) fights a joust with Moulai El Kader, the "Lion of Damascus" (Carlo Ninchi) and wins, sparing his life. When, due to an act of treachery, Corner is taken prisoner by the Turks, she finds that she must appeal to Kader for his freedom. However, the traitor Lachinsky has other plans for them. This film is important, in that it represents what Italy was doing in the adventure genre during the period of Mussolini's supremacy. It retains traces of the great silent epics, and was quite a success when first released. The miniature models were designed by Domenico Gaido, the same man responsible for directing the 1914 version of "Salambo." Once in a while, this still shows up on Italian TV.

Three Golden Serpents (1969)

The wildest entry in the Kommissar X series!

[20 December 2003]

From what I've seen of the Kommissar X series, this one definitely takes the cake. The plot involves a kidnapping ring run by a wealthy Oriental "madam." American tourist women are kidnapped, drugged, and sent to a secret island, where they are kept strung out on morphine, while serving as prostitutes to rich tourists. Brad Harris and Tony Kendall team up to nip the operation in the bud, but constantly run into a barrage of thugs, gunmen, and Asian assassins. In my book, this is another reason why director Roberto Mauri is one of the more enticing directors of Italian cult cinema. He doesn't just appeal to the spooks, but to genuine film aficionados as well. His resume extends to many forgotten and obscure corners of the cinema. All in all, he is a wonderful director. This film is really great from a technical point-of-view, and features some very nice improvising by Harris and Kendall. Walter Brandi also appears in a fine role. Thumbs up for the Three Golden Serpents!

Sansone contro il corsaro nero (1964)

Top-notch swashbuckler, with some great moments.

[12 December 2003]

This happens to be one of my favorite entries in the muscleman genre of films produced in Italy between 1958-1965. This film, along with Piero Pierotti's "Golia e il Cavaliere Mascherato" was one of the takeoffs banking on the success of Umberto Lenzi's "Zorro contro Maciste." This little sub-genre, which grafts the swashbuckling film onto the traditional peplum, had an enormous success, and sparked new life into a dying genre. This film bears all the hallmarks of Fortunato Misiano's productions, and bears the usual style and good story-telling of director Luigi Capuano. Capuano directed the best adventure films, and this one is no exception. It also shows faint signs of the cultural transition then happening between the continents. Nerio Bernardi plays the staunch traditionist, who berates Alan Steel for his humble origins, but later concedes that "nobility is revealed by actions, not by birth." Piero Lulli plays the conniving courtier, who colludes with Andrea Aureli (the Black Pirate) to get Bernardi killed so he can get his hands on the lovely daughter (played by Rosalba Neri). A wonderful film that bears up well after many years, this has its ample scenes of swordplay, suspense, and genuine humor.

Passport for a Corpse (1962)

Effective crime thriller with touches of horror.

[12 December 2003]

I recently got the chance to watch this one, which is usually packaged as a crime thriller, yet is also quite effective as a horror film. I consider this film one of the two best Gariazzo films I've seen so far, the other one being "La Mano Spietata delle Legge." Alberto Lupo plays a criminal who, with a partner, attacks a van loaded with bank notes. During a shootout with the guards, his partner is killed, and Lupo tries to make it over the French border by hiding in a coffin. Unexpectedly, he ends up being trapped in an icy cold morgue. This film has some powerful moments, and really displays Lupo's acting talents. I never thought Lupo was a very good actor until I saw this film, which showed me that I had been wrong. As well, this is a wonderful debut for director Mario Gariazzo. With an almost non-existent cast, Gariazzo concentrates almost entirely on Lupo's predicament, and we feel his desperation as the tension builds to a climax. The English-language print of this film is supposed to be cut pretty deeply, but the version I saw was the uncut Italian release.

Il pavone nero (1975)

Effective voodoo/sleaze horror.

[10 December 2003]

This film seems to be one of the exploitation-world's hidden secrets, which very few fans seem to know about. After seeing more and more of Osvaldo Civirani's films, I am impressed by the amount of professional skill he possessed, especially in this one, when, as a cinematic man with roots in the classical cinema, he could very well have risked his career by going too far. Throughout the film, he skirts the borders of censorship, creating a very worthy exploitation piece, which reminds me somewhat of the Caribbean films made by Joe D'Amato a few years later. The secret to judging the value of this film as a "good film" lies in the very fact that Civirani flirts with our senses, taking us to the very threshold of "acceptability" and then subtly drawing us back into the light of the day. Unfortunately, this film is very difficult to find in good quality, even Italian sources being multi-generational. With the progress of time and research into these films, hopefully something better will show up.

Star Pilot (1966)

Nice interstellar espionage film.

[10 December 2003]

The plot itself involves the usual alien abduction, and is not very original. When compared to Francisci's other films, this one lags remarkably. However, it has a definite B-movie appeal, and is, when viewed as an interstellar espionage film, quite up to par with the later entries of Alfonso Brescia (although Brescia did more of a slap-dash space opera with little of the espionage element). Maybe, then, this film is a big brother of Primo Zeglio's "Mission Stardust." I'll tell you what it isn't, though. It certainly isn't up to par with Antonio Margheriti's sci-fi films, many of which were directed during the same period. Francisci never made such judicious use of miniature models as did Margheriti, and, on a special effects level, this one must be ranked along with Alfonso Brescia's flicks.

One of the highlights of the film, is the return of actress Leonora Ruffo after a three year hiatus. Never a prolific actress, she was at her peak in films such as Francisci's "Queen of Sheba" and Sergio Grieco's "The Black Devil." Being a consummate movie buff, I also admired her performance in Francisci's 1951 film "Le Meravigliose Avventure di Guerrin Meschino," in which Gino Leurini fights stone giants, colossal dragons, and evil witches, in an attempt to free the then 16-year-old actress Ruffo. She looked so beautiful at that time, but in this film she appears... well... matronly. Nevertheless, Pietro Francisci dresses her up in a mini skirt, with a décolleté top-piece, and lets her play the commander of the alien spaceship.

Gordon Mitchell shows up briefly as a dispatcher from the home planet, who gives his orders to Ruffo. As usual, his murderous glare and menacing attitude squeeze him into the plot as a superfluous bad guy, who has very little to do with the film. Some Asian criminals show up, speak bad English, and attempt to take over the ship, but are subdued by the professor and the others after a fist-fight inside the space-ship. Later, Ruffo falls for Nando Angelini's character, while Leontine May gets cozy with Kirk Morris. The film ends rather mysteriously, with some sort of weak message on the horrors of radioactive waste being dumped into the atmosphere, and the ensuing end of mankind.

Now, the ultimate question. Was this just a paycheck for Pietro Francisci, or did he really have serious pretenses when making this film? After viewing "2+5 Mission Hydra", the answer is fairly obvious. Francisci had already made whatever artistic statements he once had in such earlier films as "Hercules," "The Siege of Syracuse," "Attila," "Queen of Sheba," and "Guerrin Meschino." This was a downslide for him, and he didn't shoot another movie until 1973, when he directed the low-budget and somewhat asinine "Sinbad and the Caliph of Bagdad." Francisci was mainly a director of epic films. And I kept that in mind while watching this one. On the whole, this is a film that one should watch if he or she enjoys cheap thrills, or is a die-hard completist. If you're looking for lots of big-budget effects, a well-written script, and superior acting, stick to Margheriti's sci-fi films.

The Bacchantes (1961)

Beautifully filmed historical tale.

[10 December 2003]

I recently got the chance to sit down and watch this for the first time, and am very impressed with how professional this film is. Giorgio Ferroni has fully tapped his cinematic talents, creating a movie which is visually every bit as stunning as Francisci's "Hercules." The tale itself is based on an ancient Greek play, but that is incidental. This one contains some very nicely decorated sets, an excellent score, budget costumes, and good acting. Pierre Brice is at his best as Dionysus, who comes to Thebes only to be short-shrifted by King Penteus (Alberto Lupo), who forbids his worship in that city. I've seen several other of Ferroni's films, but this one stands in my mind as one of the best. Nerio Bernardi is also in place as the high priest, while Alessandra Panaro and Taina Elg head the female cast. All in all, this is a wonderful film, and one that should be seen by every fan of the genre.

Hercules Unchained (1959)

Over-the-top effects...

[10 December 2003]

This film is a nice sequel to Francisci's gem "Hercules," the film that launched a seven-year festival of swords, sandals, cloaks, daggers, musclemen, and gorgeous women in the Italian cinema. In this sequel, Mario Bava returns as the FX man, and dazzles us with an array of visual effects which impart to this film an almost Hollywood-like sensationalism. The problem is, there is too much of it! After the first 30 minutes or so, the stuff tired me, sheerly through the fact that my mind ceased to remain in the elevated state necessary to appreciate and "roll with" what the director wanted to achieve visually. So there were alternate periods of depression and elevation, although the film, when viewed as a whole, must be one of the most stunning sword-and-sandals of all time. In this respect, Pietro Francisci did well. However, I still prefer the first entry to this one.

The Pirate of the Black Hawk (1958)

Routine pirate adventure from director Sergio Grieco.

[10 December 2003]

This film catches Sergio Grieco in the middle of a number of low-budget adventure films he directed based on Italian history. Filmed originally in color, this appeared a few years later in U.S. drive-ins in a tawdry black-and-white version, which strips the film of any lustre it may have possessed on the big screen. Thus, it is hard to appreciate what the director had in mind when shooting the film, and one must refer to "Lo Spadaccino Misterioso" and others to see what was being done in the genre at that period. There is quite a bit of action in this one, but somehow, the charisma is lacking. After viewing this three or four times, I found that the film doesn't really get much better after the first viewing, and I'll have to hope that a color version (preferably letterboxed) shows up some day, so that I can better evauluate this film. Nevertheless, it features some great faces, and an over-the-top raid by Moorish pirates. The ending revenge scene is also particularly memorable.

Pia de' Tolomei (1958)

Mid-grade Italian adventure epic.

[10 December 2003]

This seldom-seen rarity is one of the films which Sergio Grieco made after his run of low-budget swashbucklers, and yet before he achieved professional success with "Salambo." It received poor reviews from the Italian critics, and marks a period of progressive improvement in Grieco's films. Gerard Landry has been replaced by Arnoldo Foa' as the main actor of the drama, and Ilaria Occhini, who looked so lovely in Giacomo Gentilomo's 'Sigfrido' just a year earlier, returns to grace the screen, opposite Jacques Sernas as the hero of the tale. Grieco uses a more obscure cast in this film, several unknown faces showing up, and much of the adventure and swordplay of his earlier films is replaced by an improved drama and dialog. It would be nice to see this film in its original Italian version, but no company has yet offered to give this film that reviving touch much needed for any film historian to successfully evaluate its merits. I consider it a film with some good potential, and another stepping-stone (albeit a minor one) in the history of the Italian adventure epic.

Head of a Tyrant (1959)

High-epic aspirations, with a modest budget.

[10 December 2003]

Here is a well-paced epic which veers sharply away from the exploitation field, and enters the waters of historical film-making, only to lag conspicuously when viewed from that perspective. The story itself is decently told, with almost no "action" taking place between the characters, most of the plot being dialog and drama. The English dubbing is nicely done, Holophernes being dubbed by American actor Frank Latimore. The tale is based on the Apocryphal story of Judith, and is a reasonably faithful rendering. However, the lack of action tired me at last, and left me wishing that something would "happen." I've noticed this flaw in some of Cerchio's other films, and although he was a director of some professional capacity, he didn't pay enough attention to the entertainment factor. Although we're entertained to a degree, certainly Cerchio could have done more to pick up the pace. This movie was filmed on a moderate budget, with judicious use of set decorations by Sergio Scalco.

The Black Devil (1957)

Low-budget costume adventure.

[10 December 2003]

This was one of a handful of films director Sergio Grieco made with producer Ottavio Poggi. Gerard Landry plays the masked hero, who wreaks devastation throughout Roccabruna, after a tyrant, Manfred (played by Andrea Aureli), has deposed and murdered the lawful duke. An incredibly low-budget film, this, however, has its appeal. It also features the lovely Leonora Ruffo in one of her nicest (although most obscure) roles, and ushers in some good performances by Maurizio Arena, Nadia Gray, and Milly Vitale. Giulio Battiferri also shows up, as does an uncredited Gino Scotti, who plays Manfred's deposed brother. Towards the end of the film, it is clear that Landry is running on low batteries, as he lets Arena take the spotlight, while together the two work to defeat the machinations of Manfred. The English version of this film is poorly dubbed, and any original Italian version is nowhere in sight. It displays many trademarks of the Italian adventure film, including the token buffoon (in this case played by Ughetto Bertucci), and the usual damsel-in-distress themes.

Agguato a Tangeri (1957)

Stylish smoking-gun crime thriller.

[10 December 2003]

This film is a very well-done tale from director Riccardo Freda. It bears many earmarks of the visual style Freda would later use in his "Coplan" films. Everything is sleekly modern, from the fashionable nightclubs of Tangiers, to the streamlined airport at the film's close. This one also shows signs of the fading neo-realistic wave, and approaches levels of film-noir at times. The story-line is also quite superb, as Purdom explores deeper and deeper the web of criminal activity he was sent to uncover. Here is one of the few films I've seen in which Purdom doesn't over-act. He keeps everything at a cool, equable level, which shows that he may not be such a bad actor as some have suggested. Gino Cervi, as usual, plays his part to perfection, and does everything naturally, while Genevieve Page highlights the film as the main beauty. Although I don't care much for the slow jazz score played throughout the film, it fits the movie nicely, and lends definite atmosphere to the overall effect. Low on the action but high on the drama, Freda keeps us keyed up at all times, as we anxiously await Purdom to escape danger, save the girl, and bust the illegal operation.

Castle of the Banned Lovers (1956)

A seldom-seen historical gem.

[10 December 2003]

This is one of the better films of Riccardo Freda's middle period, and yet is one of those lost epics which have yet to be unearthed and re-released. Lucio Fulci shot a more modern version of the Cenci legend in 1970, and Guido Brignone directed the 1941 version. What stands out most in Freda's tale, is the visual arrangement. The sets are very well decorated with a artistic sense, and even minor details show a careful concern for visual effect. Everything is pleasing to the eye. The film is slightly hampered by melodrama, but the whole is executed with grace. Admittedly, I enjoy Freda's historical films much more than his horror and exploitation, and probably am looking at the films from his own standards, as his later films he viewed more as a paycheck than anything else. This film is up to par with "Teodora" and "I Vampiri," and is one of the notable instances in which Freda builds a very nice story with a minimum of "action" and a maximum of drama and technical skill.

Desert Warrior (1957)

Lush desert adventure, with a nice 50's feel.

[10 December 2003]

This desert epic was filmed in 1956, but wasn't released until two years later. The producers obviously put some money into this, as evinced by some of the epic-style footage, exotic locales, large numbers of extras and horses, costumes, etc. However, the film on a whole fails to hit the mark, showing to disadvantage in black-and-white, even though it was filmed originally in color. Like most drive-in prints, the film is only available in black-and-white, and Italy is no help in unearthing a color version. Riccardo Montalban plays well, but the beautiful Carmen Sevilla steals the program, as she secretly woos Montalban under the nose of her tyrannical father (played by Gino Cervi). Cervi acted suitably in low-budget, as well as high budget, adventure tales, but seemed to avoid the former, this one being an exception. As for the music, Sevilla sings a song entitled 'Destiny,' but the rest of the score is a tawdry re-hash which becomes repetitive after awhile. Fernando Cerchio was responsible for putting the finishing touches on this film, and perhaps for doing most of the directing as well. Overall it is a decent film, which enjoys an occasional second or third viewing.

The Iron Swordsman (1949)

Powerful tale from director Riccardo Freda.

[10 December 2003]

This is one of Riccardo Freda's most powerful films, and yet it remains largely unknown outside of Italy. Having never read Dante, I can't say whether this is a faithful rendering of the Count Ugolino story. However, I will say that this film is an excellent example of how Freda excels at the gradual building of suspense. The atmosphere throughout this film is thick and menacing, and the ending grim and pessimistic. It was probably this reason that caused the film to receive negative reviews in Italy. Gianna Maria Canale plays her role well, but the main characters, Carlo Ninchi and Peter Trent, steal the screen. Trent is perfect in his role as the villainous archbishop, who betrays the hapless Ugolino (Ninchi) after professing to be his friend. Ninchi is clearly taken aback by the treachery, and displays his acting talents with natural ability. In this film, Freda does not pay as much attention to visual effects as he does in his other films. The concentration here is on story and dialog. But there are some scenes in which Freda plays out his artistic sense. From the lavishly furnished chambers, to the thrilling outdoor photography, Freda makes careful use of light and shade effects, to create a film that is highly professional from a visual standpoint. Altogether, a very nice film, which may be watched more than once.

Lo spadaccino misterioso (1956)

Well-packaged historical adventure from director Sergio Grieco.

[9 December 2003]

This little-seen historical epic was the first of a number of low-budget adventures which director Grieco made with producer Ottavio Poggi. It was filmed when color had not completely come into vogue, as many epics continued to be filmed in black-and-white through the early sixties. It shows a remarkable vigor and is still enjoyable after the passage of many years, and is heightened by the performances of Frank Latimore and Gerard Landry. I've attempted to locate this film in Italian, but the only version available seems to be the one put out on Greek video during the early 1980's. The Greek version uses the American drive-in print released in 1962 for the American market, and thus, it is hard to assess how much of the film was butchered, re-arranged, and otherwise defaced. I suspect that some of the musical score may have been altered, and scenes trimmed here and there. I believe also that this was filmed at the castle of Balsorano. Regardless, it was filed at the same location as dozens of other Italian films of the period, and is the same locale used for Andrea Bianchi's 1980 film, "Burial Ground."

The Violent Patriot (1956)

A low-budget, but very effective, costume adventure.

[9 December 2003]

This film is based on the life of Giovanni de Medici. However, this is no epic production, but rather a brisk adventure tale with several remarkable moments. I consider this one of the finest films of Sergio Grieco's early adventure period, and the film is probably given that professional gloss largely by the superior acting talents of Vittorio Gassman. All around, it is a good film, with some nice battle scenes, a careful building of drama, and quite effective atmosphere. It also has its traces of violence, as for example when Medici's soldiers plunder a castle at the instigation of the traitor Gasparo (Gerard Landry). This reminds me that Grieco, although he had his roots in the classical cinema, was an exploitation director, albeit a very good one at that. Grieco cast Landry in several other films of the period, and seemed particularly busy at this time making robust adventure tales based on Italian history. This was released in American drive-ins in the early 60's, and is today extremely difficult, if not impossible, to locate in its original form.