Blu-ray/DVD: The Sicilian Clan

Three of the great icons of French crime cinema team up for The Sicilian Clan (France, 1969) (Kino, Blu-ray, DVD). Jean Gabin is Vittorio Manalese, the head of the Sicilian Manalese clan in Paris, Alain Delon the reckless, amoral French criminal and killer Roger, who hires Vittorio’s clan to spring him from custody, and Lino Ventura Commissaire Le Goff, the man who captured Roger. After Roger escapes, Le Goff struggles with is efforts to give up smoking.

The film opens with a terrific escape, not from prison but from prison transport in the chaos of a traffic snarl, in a nicely-engineered sequence crisply directed by Henri Verneuil. No guns needed here—the Manalese clan doesn’t kill during their capers—and Vittorio is wary of Roger, a loner who has killed more than one cop in his robberies, as he puts him up in a private apartment above the family home. But when Roger brings a big jewel heist his way, he agrees to partner up and proceeds to find a New York partner and case the target: an exhibition hall in Rome with state-of-the-art security. Vittorio meets up with distant New York mob cousin Tony Nicosia (played with dapper charm by Amadeo Nazzari), who he hasn’t seen for thirty years, and they slip into instant rapport and easy friendship as if no time has passed as they case the Rome exhibit. When they find the new technology impenetrable, Vittorio comes up with a new plan: hijacking the flight delivering the jewels to New York City in a genuine family affair.

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Blu-ray/DVD: ‘Mildred Pierce’ on Criterion

Is Mildred Pierce (1945) (Criterion, Blu-ray, DVD) film noir or melodrama? I say why choose? Film noir is almost entirely associated with crime stories and life in the shadows and at night in the city and sure enough Mildred Pierce, based on the novel by James M. Cain, opens with death and darkness and the twilight of the soul. But there’s a subset of noir rooted in melodrama or the women’s pictures, as they were called in the 1940s and 1950s, films about the lives of women as they reach for their American dream, or at least the one promised them in love, marriage, and family. Mildred Pierce offers both, almost as two separate films that converge in the final act

Criterion

It opens squarely in film noir territory (not that there is anything square and simple in noir), with a point blank murder and grotesque dying convulsions of a man who, even at first glance, convinces us he’s an oily, unclean manipulator who surely earned his terrible death. It’s Zachary Scott in a lounge lizard mustache playing his trademark gigolo with weasely insincerity—almost too perfect for our opening victim. We’ll get back to the corpse but first we leave the beach house scene of the crime for a seedy part of the boardwalk and a woman in fur (Joan Crawford) gripping the rail with every indication of a suicidal plunge into the surf. There’s a gaudily colorful bar with a Polynesian theme owned by Jack Carson, appropriately attired in a white tux that screams new money and no taste especially next to the elegance of Crawford, a nightcap, and what appears to be a neat little frame for murder that sweeps all of our characters into the police station for questioning.

You don’t think of Michael Curtiz, the great house director of Warner Bros. spectacles and prestige pictures, as one of the great noir directors but the opening twenty minutes or so is a master class in film noir directing, in part thanks to stunning nocturnal images by cinematography Ernest Haller (his work earned an Oscar nomination, one of six that the film racked up).

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Blu-ray: Deluge

Deluge (1933) (Kino Lorber Studio Classics, Blu-ray, DVD), the original end-of-the-world thriller, is a curious and often fascinating artifact. Produced in 1933, before the production code came down on Hollywood, on a relatively modest budget, it imagines not just the destruction of civilization in (unexplained) earthquakes and cataclysmic storms but life after the flood, so to speak. It’s based on a popular 1920s science fiction novel by the now forgotten Sydney Fowler Wright and can claim the title as the first disaster movie.

Kino Lorber Studio Classics

Scientists are in a panic as barometers plunge and reports of cities flooded in tidal waves and hurricanes are breathlessly reported in radio broadcasts. In these opening scenes, however, the only destruction we witness is the lavish house in the woods of Martin and Helen (Sidney Blackmer and Lois Wilson), crushed under trees blown over by high winds while Martin carries them off to safety. Then the real spectacle begins: New York collapses in primitive yet evocative miniatures that are more expressionistic than realistic, like an avant-garde short dropped into a science fiction thriller. Crude travelling mattes put people amidst the destruction, fleeing collapsing buildings or getting crushed by the debris, and a magnificent miniature gives us a God’s eye view of New York City swamped in a tsunami. By modern standards it’s not all “realistic” but it’s mesmerizing in part because it’s a cinematic imagining of something no filmmaker had attempted on screen before. It’s a first pass at the kind of disaster spectacle we now take for granted and these technicians create it all from scratch, not just the technical matter of the physical special effects but the very visualization of the end of the world.

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Blu-ray/DVD: ‘Loving’ – The couple behind the history

Ruth Negga earned an Academy Award nomination for her performance in Jeff Nichols’ intimate drama.

Universal Home Video

Loving (2016), Jeff Nichols’s portrait of Richard and Mildred Loving, does more than put a face to a landmark Supreme Court decision. Their 1958 marriage was a crime in the state of Virginia because Richard (played by Joel Edgerton with a terse determination) was a white man and Mildred (Ruth Negga, vulnerable yet hopeful) was a black woman. But this is not the portrait of a defiant couple protesting all the way to the Supreme Court. The title is more than just a form of shorthand or a clever double-meaning. It is the core of the film. This is about a marriage, a couple deeply in love and devoted to their family, who just want to live together in their home state.

Their courtship is presented in snapshots yet from the beginning it’s like they’ve been together forever, laying in one another’s arms with a natural intimacy. They live in an integrated pocket of blue collar families that could be a planet away from the segregation of the cities. When Mildred tells Richard she’s pregnant he beams with a rare smile, like it’s the sign he’s been waiting for, even if they have to sneak across the border to Washington D.C. for the ceremony and set up a household in secret. Negga earned a well-deserved Oscar nomination for her performance as Mildred and Australian actor Edgerton received a Golden Globe nomination for the stolid Richard, a man who looks like a redneck stereotype under his buzz cut and tight mouth yet is like a member of her family even before they marry.

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Blu-ray: ‘Something Wild’ (1962) on The Criterion Collection

Criterion

Not to be confused with the Jonathan Demme screwball comedy/thriller by the same name, the 1962 Something Wild (Criterion, Blu-ray, DVD) is an unusually frank drama about a teenage girl recovering from rape.

The film opens on the assault, a non-explicit scene that communicates both the violence of the rape and the terrible sense of violation and helplessness felt by Mary Ann (Carroll Baker), a New York middle-class girl who is attacked on the way home from school. Director Jack Garfein, who adapted the screenplay from the novel “Mary Ann” with author Alex Karmel, presents the ordeal in impressionistic fragments and discomforting close-ups and the aftermath, as she picks herself off and shuffles home, in a long, wordless scene sensitive to the nuances of her experience. The tactile presentation of the physical details (a skirt shoved up over her thigh, a sharp rock poking into her leg, bending to pick up the modest crucifix ripped from her neck and tossed to the ground) doesn’t just channel the sensory experience, it suggests the fragments of the ordeal that Mary Ann’s mind latches on amidst the horror of violation. More than fifty years later it is still startling and affecting, a simple yet evocative cinematic suggestion of ordeal too terrible to show.

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Blu-ray: Long Way North

Shout! Factory

Long Way North (Shout! Factory) is a gorgeous French-Danish animated feature about a 15-year-old girl from an aristocratic family in 1880s Saint Petersburg who flees her palatial home for the far north to search for the lost ship of her explorer grandfather Oloukine. He disappeared in his attempt to conquer the North Pole in the “unsinkable” ice breaker “The Davai” and is assumed by all to have sunk but Sacha, the aristocrat with the heart of an adventurer, finds clues in her grandfather’s papers that suggests he took an alternate route and she seeks out a ship to search for the ship. There’s a handsome reward for its recovery, which is what finally convinces a Captain to take on her search, but she’s driven by her adoration for her grandfather and her desire to rehabilitate his reputation.

First-time director Rémi Chayé was an assistant director and storyboard artist on the Oscar-nominated The Secret of Kells and the lovely French feature The Painting and he brings a strong, sure sense of design and layout to the film. This is traditional hand-drawn animation with an unconventional visual style, less drawn than painted with big, bold fields of color and details suggested in splashes of shadow or small, simple lines.

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Blu-ray/DVD: Train to Busan

You could call Train to Busan (South Korea, 2016) “Zombies on a Train”—it certainly makes a catchy logline and it frames the premise accurately and succinctly—but it reduces this fleet, fierce, unexpectedly human thriller to a mere gimmick.

Apart from the slyly eerie prologue, the film opens without any hint of the viral rampage to come. Workaholic divorced dad Seok Woo (Gong Yoo) is a hedge fund manager in a Seoul financial firm juggling a financial crisis while his neglecting his young daughter Soo-an, one of those adorable tykes whose moon eyes and disappointed face gives us a history of neglect—not the physical abuse kind, mind, he’s just been absent in every meaningful way—and finally shames him into taking her back to her mother on the train to Busan. It’s just another ride as far as the passengers are concerned, but that because the train pulls out just before the yard is overrun in a swarm of rabid bodies, but not before one infected soul climbs aboard.

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Blu-ray: Meryl Streep is ‘Florence Foster Jenkins’

Florence Foster Jenkins (2016) may sound like a one-joke contrivance—a rich, generous, arts-loving heiress in 1940s New York City gives private recitals to a select group of high society insiders who never let on to the oblivious woman that she is quite possibly the worst singer to ever trod a stage—but it is both a true story and an unexpectedly tender, touching movie. And it’s quite funny to boot.

Meryl Streep, who is in fact a trained and talented vocalist, pulls off that most difficult of comic performances as Mrs. Jenkins. She glows with joy while her shrill tones are wretchedly off-key and at times off-the-charts while her husband St Clair (a warm and protective Hugh Grant) smiles in appreciation through her rehearsals. Her new practice pianist Cosmé (Simon Helberg, The Big Bang Theory) is dumbstruck during his inaugural session with Florence and Helberg’s performance is superb. He’s like a silent movie comic, looking on gobsmacked then contorting himself to keep from betraying his reaction when he sees that no one else is the least bit fazed. You can imagine everything running through his head as he plays away: are they putting him on? Are they putting her on? Can they even tell she’s wildly untalented? Just what has he gotten himself into, and is having a steady job worth it?

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Best Blu-ray & DVD releases of 2016

We’ve been hearing people pronounce the death of DVD and Blu-ray for years now. You’d never know it from the astonishing wealth of Blu-ray debuts, restored movies, and lovingly-produced special editions in 2016. The sales numbers are way down from a decade ago, of course, thanks in large part to the demise of the video store, which drove sales of new movies to fill the new release rental racks. The studios still handle their own new releases on disc but many of them have licensed out their back catalog to smaller labels—some new, some longtime players—who have continued to nurture the market for classics, cult films, collectibles, and other films from our recent and distant past. Criterion, Kino Lorber, Shout! Factory / Scream Factory, Twilight Time, Arrow, Olive, Blue Underground, Flicker Alley, Raro, MVD, Cinelicious, and others have continued to reach those of us who value quality and deliver releases that, if anything, continue to improve. We prefer to own rather than rely on compromised quality of streaming video and the vagaries of licensing and contracts when it comes to movies.

2016 has been as good a year as any I’ve covered in my years as a home video columnist and paring my list of top releases down to 10 was no easy task. In fact, I supplemented it with over two dozen bonus picks and honorable mentions. My approach is a mix of historical importance, aesthetic judgment, quality of presentation, and difficulty of effort. It is an unquantifiable formula influenced by my own subjective values but you’ll see some themes emerge. I favor films that have never been available in the U.S. before, significant restorations, discoveries, and rarities. But I also value a beautiful transfer, well-produced supplements, insightful interviews and essays, and intelligently-curated archival extras. You’ll see all these in the picks below.

Out1Box1 – Out 1 (Kino Lorber / Carlotta, Blu-ray+DVD) – This was my cinematic Holy Grail for years, Jacques Rivette’s legendary 12-hour-plus epic of rival theater companies, an obsessive panhandler, a mercenary street thief, an obscure conspiracy, the post-1968 culture of Paris, puzzles, mysteries, creative improvisation, and the theater of life. The history is too complicated to go into here (check out my review at Parallax View) but apart from periodic special screenings it was impossible to see until a digital restoration in 2015 followed by a limited American release in theaters, streaming access, and finally an amazing Blu-ray+DVD box set featuring both the complete version (Noli me tangere, 1971 / 1989) and the shorter Out 1: Spectre (1974), designed for a theatrical release after French TV balked at his original vision. It was shot on 16mm on the streets with a minimal crew and in a collaborative spirit, incorporating improvisations and accidents and morphing along the way. The disc release embraces the texture of its making and also includes the new documentary “The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited” and an accompanying 120 page bilingual booklet. There were more lavish sets and more beautiful restorations on 2016 home video, but nothing as unique and committed as this cinematic event, which made its American home video debut over 40 years after its first showing. Full review here.

Blu-ray/DVD: ‘Crouching Tiger’ revisited, ‘Kamikaze’ Fassbinder, South Korean ‘Wailing,’ and more

kamikaze89Kamikaze ’89 (Film Movement, Blu-ray, DVD) – Rainer Werner Fassbinder takes a rare onscreen lead in what would be his last screen appearance in Wolfgang Kremm’s 1982 new wave science fiction cop drama. Based on a satirical science fiction novel by Swedish crime writer Per Wahlöö, it’s a cyberpunk murder mystery in a totalitarian near future, where news and entertainment is controlled by a single entity called the Combine, a corporate monopoly that narcotizes the population with mind-numbing reality TV and upbeat news reports of sunny weather. Lt. Jansen (Fassbinder) is assigned to investigate a bomb threat at the headquarters of the Combine, which is run by a man known as Blue Panther, and given 72 hours to wrap the case (which is classified as a state secret) by his Chief, who is constantly under medical treatment.

This is a cartoon of a totalitarian culture where vegetables are forbidden and the police salute one another with a thumbs up and a smile and the film is filled with comic books both real and fictional (the Blue Panther is the star of his own series, where his nemesis Kyrsnopompas has become an icon of revolution) to hammer the message home. The mystery is silly and confusing but the film is entertaining, with Fassbinder dressed in a leopard-print suit and playing racketball in a police disco in his off hours. You can see the ravages of drugs and alcohol on Fassbinder, who is pale and pudgy and often out of breath in his scenes. He was dead by the time the film was released. This is more curiosity than classic but it is goofy fun and it features Fassbinder collaborators on screen (actors Günther Kaufmann and Brigitte Mira) and behind the camera (cinematographer Xavier Schwarzenberger) and a score by Tangerine Dream founder Edgar Froese.

It debuts on Blu-ray and DVD in the US with commentary by producer Regina Ziegler and the documentaries Rainer Werner Fassbinder: The Last Year (1982) and Wolf At the Door (2015) directed by Wolf Gremm, plus a booklet with essays by Nick Pinkerton and Samuel B. Prime.

crouchingtiger4kCrouching Tiger Hidden Dragon (Sony, Blu-ray, 4K UHD) – Ang Lee transformed his love of “wuxia pian” (China’s epic adventures of martial arts, chivalry, and melodrama of the past age) into a worldwide smash by creating, in his own words, “Sense and Sensibility with martial arts.” As much about the tragedy of repressed love and the rebellion of a feisty young princess (Zhang Ziyi) against an arranged marriage as a hot-blooded action film, it bubbles with heart, soul, and sheer poetry in motion. Michele Yeoh kicks up a storm while Chow Yun-Fat relies on poise, confidence, and minimalist movements to make himself the calm master in the center of frenzied fights. The film soars—literally—with high flying action scenes that border on magic, but it’s the romantic abandon and delirious imagery that gives the melodrama it universal appeal. Winner of four Oscars, including Best Foreign Language Film and Best Cinematography.

It’s been newly remastered from a 4K master for the 4K UHD release, and features a collection of new and archival supplements. New to this edition is the three-part “Crouching Tiger, Hidden Tiger – A Retrospective” featuring interviews with director Ang Lee, screenwriter/producer James Schamus, and film editor Tim Squyres, all conducted by Tasha R. Robinson (runs about 80 minutes all together), and the vintage featurette “The Making of Crouching Tiger, Hidden Dragon,” plus six never-before-seen deleted scenes, two music videos, and a new introduction by director Ang Lee.

Carried over from previous releases are two commentary tracks, one with director Lee and longtime collaborator James Schamus, the other with cinematographer Peter Pau, an interview with Michelle Yeoh, and a gallery of stills. The filmmaker commentary is both entertaining and informative. Schamus cracks jokes but is genuinely sensitive to the film; he quips: “And now the exposition: Why are you doing this? I’m repressed and I’m in an Ang Lee movie,” during a conversation between the two female leads, but turns around to praise Michelle Yeoh’s performance as she holds the scene in close-up. Lee is no slouch in the humor department himself, but he’s more concerned with the cultural background, the themes of masters and disciples, and the physical ordeal of creating the film and the effects, especially the stunning martial arts sequences but also the amazing vistas and beautiful locations.

wailingThe Wailing (Well Go, Blu-ray, DVD), a South Korean thriller that takes a dark turn into supernatural horror, is the third feature from Na Hong-jin, director of The Yellow Seaand The Chaser, two of the more sophisticated thrillers to come out South Korean cinema. He does a nice job of putting his horror in the material world of modern life with Kwak Do-won as a somewhat dim underachiever cop who is way over his head investigating a double homicide in his little town. Kwak isn’t too bright but he’s a doting father to his smart little girl and there’s still a little spark in his marriage, even if they have to sneak off like a teenager to the backseat of their car to have a little private time. He’s gobsmacked by the bloody crime scene, unnerved by the sight of a silent woman who appears at each crime scene like a demonic spirit, and unsettled by the enigmatic Japanese traveler living in the hills (Jun Kunimura). They are all clearly interconnected and as the body count increases and an inexplicable plague of untreatable illnesses build he puts his attention to the Japanese man with a hidden shrine of incriminating photos. Is he a shaman or a villain, and is this a serial killer spree or demonic possession?

This is dark and disturbing and surprisingly long—over 2 ½ hours—and directed with a slow build that churns up the tension as it shifts suspicion around. Na splashes the crime scenes with blood and gore and suggestions of unimaginable violence perpetrated on the victims, and he captures weird scenes of unnerving behavior that could be evidence of dark forces at work or simply fevered imaginations at work. But it’s when Kwak’s pre-teen daughter develops a rash and starts spouting filthy language with a ferocious rage that comes and goes like a fever (recalling nothing less than The Exorcist) that the horror really hits home for Kwak, who tosses aside police procedure and overcomes his innate cowardice to save his daughter. That’s not entirely reassuring, mind you. Where American horrors tend to provide us with earnest cops and wise religious figures, this film (like an earlier, non-horror South Korean thriller, Memories of Murder) offers no such comforting protagonists or confident insights to the supernatural origins of the inexplicable events. And when things get really weird and twisted in the third act, the brakes are off on this ride.

On Blu-ray and DVD. In Korean with English subtitles, with two featurettes and the original trailer.

phantomtheatrePhantom of the Theatre (Well Go, DVD) – The Phantom of the Opera looms large in this Hong Kong haunted theater / romantic melodrama set in 1930s Shanghai, where a grand show palace is reopened for the first time since a troupe of acrobats died in a fire 13 years before. An ambitious filmmaker (Yo Yang) wants to shoot his debut feature, a supernatural romance, in the theater. A series of mishaps plagues the crew and scares the leading man off, prompting the director to step in opposite the lovely ingénue (Ruby Lin), who remains through the disasters. There’s a mysterious, scarred figure scurrying behind the scenes, characters burst into flame and appear to burn from the inside out (the director’s girlfriend is, coincidentally, the police pathologist), and flashbacks reveal that most of the players in this modern drama have direct ties to the fatal fire years before.

The film tries to have it both ways, delivering supernatural spectacle and then explaining it away with pseudo-science that doesn’t quite hold up, and turns into a revenge film and a murder mystery. It’s directed by Raymond Yip (Yip Wai Man), a veteran of popular costume epics and grand action films, and he gives it a lavish, colorful look. The old style melodrama is big and lush and romantic, like the old Hollywood pictures of the 1940s and 1950s with modern special effects. It may seem corny to American audiences but it’s entertaining and visually fun to watch.

On DVD only. In Mandarin with English subtitles, no supplements.

reignassassinsReign of Assassins (Anchor Bay, DVD) is a 2010 costume action drama making its belated American home video largely on the two international names in the Chinese picture: producer John Woo, who has a co-director credit, and star Michelle Yeoh of Crouching Tiger, Hidden Dragonfame. Yeoh is a top assassin for Dark Stone, a criminal organization determined to find the remains of a great martial arts master that is said to give great power to whoever possesses them. The relics are something of a MacGuffin here, an object to set the story in motion as Yeoh takes the treasure and disappears into a new life (thanks to a black arts version of plastic surgery) married to a poor but honest courier (Jung Woo-sung). When she reveals her powers to save her neighbors from a gang of bank robbers, however, the top assassins from Dark Stone arrive to take the bounty on her head. This is a colorful but unremarkable mix of martial chivalry, costume drama, romance, and period martial arts spectacle with swordplay, flying acrobatics, and special effects. Action star Michelle Yeoh is duly enigmatic and Korean star Jung Woo-sung provides the romantic warmth, but it is otherwise routine with little sign of Woo’s action pyrotechnics or his operatic approach to melodrama.

On DVD only. Mandarin with English subtitles, no supplements.

Blu-ray: ‘Private Property’ rediscovered and restored

privatepropertyPrivate Property (Cinelicious, Blu-ray+DVD) – Put this 1960 film in the “Lost and Found” category. The directorial debut by Leslie Stevens, a playwright and screenwriter and protégé of Orson Welles, it’s a neat little sexually-charged psychological thriller set in the sunny California culture of affluence and trophy wives and drifting hitchhikers crossing the stratified social borders.

Corey Allen and Warren Oates are Duke and Boots, the George and Lenny of angry drifters, and Kate Manx is the beautiful trophy wife that Duke spots on the Pacific Coast Highway in a white Corvette. They coerce a travelling salesman to follow that car and trail her to her Hollywood Hills home, taking up residence in a vacant home next door. They ogle her through the second floor window as Anne sunbathes and skinny dips, and then they insinuate themselves into her home. A student of the Method school, Allen plays Duke as an angry young con man who has perfected the sensitive soul act, while Manx, who was Stevens’ wife at the time, is a limited actress who Stevens directs to an effective performance. Oates is the revelation, walking that tightrope between loyalty and suspicion, slowly figuring out Duke’s games but slow to act until practically pushed into action.

Long considered lost until it was restored by UCLA Film and Television Archive and rereleased in 2016, Private Property is not a lost masterpiece but it is a terrific little independently-produced thriller. Constructed around a few locations (including Stevens’ own home for Anne’s gilded prison) and a cast of four central characters and shot in an economical ten days, it is both a handsome production (shot by veteran, Oscar-nominated DP Ted McCord sometime between Treasure of the Sierra Madre and The Sound of Music, and camera operator Conrad Hall) and a visually evocative world taut with palpable tension and he orchestrates the quartet nicely. The simmering resentments of class and money and the confusion of sex, desire, and power point this 1960 film forward to the socio-political concerns of late-sixties and early-seventies cinema.

Released on a Blu-ray+DVD combo pack from a 4K restoration with a new interview with still photographer and technical consultant Alexander Singer and a fold-out insert with notes and observations by Don Malcolm.

Private Property [Blu-ray + DVD Combo]

More classics on Blu-ray and DVD at Cinephiled

Blu-ray: Giallo! Restored Italian horrors on Arrow, Synapse and more

Blood and Black Lace (Arrow/MVD, Blu-ray+DVD)
What Have You Done to Solange? (Arrow/MVD, Blu-ray+DVD)
Death Walks Twice: Two Films by Luciano Ercoli (Arrow/MVD, Blu-ray+DVD)
Killer Dames: Two Gothic Chillers by Emilio P. Miraglia (Arrow/MVD, Blu-ray+DVD)
Edgar Allan Poe’s Black Cats: Two Adaptations by Sergio Martino & Lucio Fulci (Arrow/MVD, Blu-ray+DVD)
The Horrible Dr. Hichcock (Olive, Blu-ray, DVD)
Tenebrae (Synapse, Blu-ray, DVD)
Manhattan Baby (Blue Underground, Blu-ray)

A mysterious stranger stalks a beautiful woman as the camera creeps in like a voyeuristic partner in crime. Black gloved hands reach for the lovely neck of a young maiden. The faceless killer strangles, stabs, slashes, or otherwise horribly murders her in front of our eyes, the camera recording every perverse detail. This description of the giallo could fit the hundreds of slasher films but the true giallo—a distinctive Italian brand of horror film that was born in the 1960s and flourished in the 1970s and 1980s—combines a poetic, haunting beauty with Grand Guignol gore and a bent of sexual perversity. You could call it “spaghetti horror,” though it hardly captures what makes the genre so unique and, at its best, so delicious.

Italian horror did not begin and end with giallo, which is the Italian word for “yellow” and refers to a series of cheap paperback mysteries and thrillers that sported yellow covers, but it certainly put the genre on the map and influenced the direction of Italian horror (as well as, among others, Spanish and French horror) for decades. The cinematic roots include Alfred Hitchcock’s Psycho (with its elaborately choreographed murder scenes), Agatha Christie’s And Then There Were None, and the krimi, a distinctly German genre of murder mystery based on the British thrillers of Edgar Wallace and his son, Bryan Wallace. These films generally featured a mysterious, usually masked killer, an eccentric investigator, and a roll call of suspects that usually ended up systematically murdered in creatively gruesome ways.

Death Walks at Midnight - image courtesy of DVD Beaver

Death Walks at Midnight – image courtesy of DVD Beaver

Mario Bava and Dario Argento are the king and crown prince (respectively) of the genre that was born in the sixties, bloomed in the seventies, and celebrated a resurgence in the late nineties as scores of gialli rolled out on videotape and DVD in restored and uncut versions. I devoured these releases but, like so many other fans, I also discovered that the pool of Italian horror was, just as with the spaghetti westerns in the 1960s, huge and filled with copycats and knock-offs cashing in on the current trends. The excitement waned as the pool of classics was quickly drained and I worked my way through lesser and lesser horrors just waiting for moments of inspiration. That’s not to say anyone gave up on the genre, only that for a few years the hits were fewer and farther between.

Labels like Blue Underground, Kino Lorber, Synapse, and Mondo Macabro kept the genre alive during these fallow years. Now Arrow, a British label that recently launched an American line of Blu-ray and DVD releases (through distributor MVD), has injected new blood into the genre with some of the best editions of classic, notorious, and outrageous giallo titles in the past couple of years. Most (if not all) of these films have previously been released on DVD, some of them satisfactory, others not so much. They make their respective Blu-ray debuts in impressive deluxe editions. Here are a few stand-out releases from the past 12 months or so, as well as a few choice releases from other labels. And where better to start than…

bloodblackBlood and Black Lace (Arrow/MVD, Blu-ray+DVD), Mario Bava’s 1964 giallo landmark. Many experts of the genre have cited The Girl Who Knew Too Much (1963) as the birth of the giallo, but I say this elegant slasher picture and its mix of poetic, haunting beauty with Grand Guignol gore and a bent of sexual perversity is where it really began. If Peckinpah’s The Wild Bunch turns violence into a ballet, then Blood and Black Lace is murder as ballroom dance. Bava sets the atmosphere with a beautiful yet eerie credits sequence that gives each star his or her own moving fashion still and then jumps into a stormy night, where the winds lash and snap the chains of the hanging sign and twist the streams of the elegant fountain until it resembles the spray of a disaster. Order becomes chaos.

Forget the plot, which has something to do with a masked stalker hunting the gorgeous models of a Rome fashion house and a personal diary that becomes the film’s maguffin, and just take in the color and style. The man, dressed in black with a blank white mask that evokes the fashion mannequins of the film, leads his partners, invariably beautiful women impeccably dressed in bright, bold colors, through an often elaborate, usually sadistic, tightly choreographed murder. The plot becomes secondary to spectacle of the dreamy dance of death, choreographed with sadistic precision, delivered in lurid color, spied upon with a restlessly gliding camera. There’s an undeniable edge of misogyny to the whole thing, but the psycho-thriller aspects seem beside the point as the narrative melts into abstract moments of dreamy, disconnected beauty. Cameron Mitchell (who also starred in a pair of Viking movies for Bava) plays the head of the fashion house and, thus, is the prime suspect in the eyes of the obsessive Inspector Silvester (Thomas Reiner)

Previous DVD releases have all been a little disappointing. Bava was a cinematographer and special effects artist before graduating to director. His films are painstakingly designed and painted on the screen and Blood and Black Lace is one of his most beautiful. You can see it right there in the opening credits, a Gothic fashion shoot bathed in intense, unreal sprays of red and purple and green. Arrow gives the film its American Blu-ray debut in a transfer newly mastered from a 2K restoration from the original camera negative, with both the Italian and English language soundtracks (note that American actor Mitchell’s voice in the English version is one of many dubbed by Paul Frees) and newly translated subtitles for the Italian version.

New to this edition and featured on both Blu-ray and DVD editions is commentary by film historian and Mario Bava biographer Tim Lucas and the almost hour-long “Psycho Analysis,” an in-depth documentary on Blood and Black Lace and the origins of the giallo genre featuring interviews with directors Dario Argento and Lamberto Bava and screenwriter Ernesto Gastaldi among others. There is also an appreciation of the film by Hélène Cattet & Bruno Forzani, directors of the giallo tributes Amer and The Strange Color of Your Body’s Tears (10 mins), the visual essay “Gender and Giallo” by Michael Mackenzie (38 mins), a panel discussion on Mario Bava featuring Dario Argento, Lamberto Bava and Steve Della Casa, recorded at the 2014 Courmayeur Film Festival (11 mins), the complete episode of David Del Valle’s television series The Sinister Image featuring his interview Cameron Mitchell (56 mins), and the alternative US opening titles (sourced from Joe Dante’s private print and scanned in 2K especially for this release). Exclusive to the Blu-ray is the neo-giallo short film Yellow by Ryan Haysom and Jon Britt. The accompanying lavishly illustrated booklet features new essays by giallo historian Howard Hughes and David Del Valle and a print interview with Joe Dante.

whathavesolongeWhat Have You Done to Solange? (Arrow/MVD, Blu-ray+DVD) is celebrated as one of the masterpieces of giallo. It’s also one of the most disturbing entries in the genre, and not for the reasons you might assume. On the one hand, What Have You Done to Solange? (1972) comes right out of the krimi-inspired plots of a mysterious masked killer hunting down victims and leaving their rent bodies on display to taunt the cops and terrorize the community, with a side of salacious nudity out of the schoolgirl films of Germany and the swinging cheerleader and student nurse films of the U.S. On the other, it is about a killer targeting high school girls and murdering them with a sexual assault out of the Jack the Ripper school of hateful misogyny. Our prime suspect is also our protagonist, Enrico Rosseni (Fabio Testi), an Italian physical education teacher in an exclusive British girl’s school. He’s married to a schoolteacher (Karin Baal, introduced as a chilly, severe figure) and sleeping with a student (Cristina Galbó), though the film takes pains to assure us that she is 18 so it’s okay, wink wink, nudge nudge. The growing suspicions of Enrico send him on his own investigation with his wife at his side and it turns out that their mystery-solving partnership is better than marriage counseling.

Director / co-writer Massimo Dallamano, the cinematographer of Sergio Leone’s A Fistful of Dollars (1964) and For a Few Dollars More (1965) and director of salacious adaptations of Devil in the Flesh (1969) and The Secret of Dorian Gray (1970), stacks up the genre conventions. One character has violent flashes of the murders, something between supernatural premonition and buried traumatic memory (complete with a sickly inventive bit of stylistic ingenuity involving a murder, a nightmare, and a whip-pan transition). There are obligatory shower scenes (complete with a peeping tom more pervy than menacing) next to imagery of Catholic repression and guilt. In one flashback involving an abortion, the scene transforms from shared act of rebellion to grotesque assault, an act of sadism and sexual violation rather than a medical procedure. The filmmakers may have set the film in Britain but the illegal back-alley abortion is purely Italian, as is the Catholic morality.

What Have You Done to Solange? has plot holes big enough to trap the elephant in the room, but it is unusual and surprising and perversely compelling, with a disturbed twist that gives the salacious and sick predations a psychological grounding. This is not violence sexualized but an angry, vicious assault upon the sexuality of the victims, which gives the film a weird, resonant pay-off, and the lovely and tender score by legendary composer Ennio adds an eerie elegance and haunting edge to film. Solange is exploitation to be sure, but Dallamano doesn’t fetishize or stylize the violence as spectacle. Rather, his film reverberates with a fear of female sexuality and mourning over the loss of innocence. That’s not to say Dallamano transcends the conventions of the genre, but he certainly complicates them.

Features both Blu-ray and DVD editions of the film, newly remastered from a 2K restoration from the original camera negative and featuring both Italian and English language soundtracks with optional English subtitles. It was shot with the actors delivering their lines in English so the dub would better match. Given the international make-up of the cast, the English language version is likely the definitive one here.

New to this edition is commentary by horror historians and critics Alan Jones and Kim Newman, new interviews with actors Karin Baal (13 mins), Fabio Testi (21 mins), and Fulvio Lucisano (11 mins), the half-hour visual essay “Innocence Lost” by Michael Mackenzie, plus a booklet with new essays on the gialloscores of Ennio Morricone by Howard Hughes and the career of actress Camille Keaton by Art Ettinger.

deathwalkstwiceDeath Walks Twice: Two Films by Luciano Ercoli(Arrow/MVD, Blu-ray+DVD) is a double shot of gialloconnected not by story or character but by genre, style, and creative collaborators. Both films are directed by Luciano Ercoli, written by Ernesto Gastaldi and Mahnahén (aka May) Velasco, and star Spanish actress Nieves Navarro (under the screen name Susan Scott) and leading man Simón Andreu, a team first brought together for Ercoli’s directorial debut, The Forbidden Photos of a Lady Above Suspicion (1970).

Death Walks in High Heels (1971) opens on an attention-grabbing set piece: a masked figure with a big knife stalks and stabs a man on a train, but the real object of his hunt is missing. The victim is—or rather, was—a notorious jewel thief and the police immediately pay a call on the dead man’s daughter Nicole (Nieves Navarro), a celebrity stripper in Paris. So does the killer, who terrorizes her with a knife and the threat of brutal sexual violence unless she hands over the jewels from a recent heist. She hadn’t a clue as to where her estranged father stashed his loot but neither the police nor the killer believe her. As for her hot-tempered boyfriend Michel (Simón Andreu), we’re not exactly sure what he believes. He’s an opportunist kept in high style by Nicole, a situation that tends to bring out the resentment of the ne’re do well. The setting may be France but his attitude is pure Italian machismo, slapping Nicole around to establish the alpha male dominance while living off her earnings. That makes him the prime suspect but certainly not the only one. Frank Wolff is the friendliest stalker on the stripper circuit, following Nicole from one club to the next and finally whisking her out of the country to his English seaside villa to escape the killer and the cops. (Key scenes with Paris and London landmarks were shot on location but otherwise Spain and Italy stand in for France and Britain.)

The quirky Inspector Baxter (Carlo Gentili), a sardonic police investigator with a dry wit and a slow-witted assistant (George Rigaud), is right out of the krimi, as are the masked killer (whose faceless appearance is just as much about instilling terror as concealing identity), the gallery of eccentric suspects, and the splashes of gallows humor. And then there’s the voyeurism and the disembodied eyes. The operatic, intense close-ups that Sergio Leone turned into a stylistic trademark of the spaghetti western are transformed by Ercoli into mystery and menace: the eyes of unidentified onlookers, isolated in extreme close-up or framed by the holes of a mask or the lenses of glasses, binoculars, and telescopes. Nicole can’t escape the gaze of lusting men even in hiding and just who is doing the watching is as much a mystery as who is behind the mask.

Death Walks at Midnight (1972) is not actually a sequel but in the proudly opportunistic tradition of Italian genre pictures it recalls an earlier success, in this case the filmmakers’ own. This time around, Navarro is a fashion model named Valentina (a reference to the comic book series by Guido Crepax?) who reluctantly agrees to be the subject of an experimental hallucinogenic drug for an unscrupulous tabloid reporter (Andreu). In the middle of a psychedelic trip she witnesses a gruesome murder in the apartment across the way but apartment is spotless by the time the police check it out the next day, The reporter chalks it up to an acid flashback—there actually was a murder committed in the same apartment months ago and he’s convinced the drug unlocked a memory she buried out of trauma—so Valentina becomes a high fashion Nancy Drew to navigate a world of eccentric informants, colorful suspects, and bohemian allies.

Ercoli pushes his style to more stylistic flamboyance: curious camera angles, unsettling compositions, a sense of Gothic around the edges of the modern world. Valentina’s sometime-lover Stefano (Pietro Martellanza), an artist with a lavish studio, gives Ercoli the opportunity to splash a little abstract color around. He pushes the film through creative set pieces and wild plot twists with a snappy pace, keeping the rollercoaster of suspense and spectacle moving with rapid but smooth momentum. Most refreshingly, Navarro takes the lead in the investigation and in the film. The men are a few beats behind, though no less arrogant for it. She isn’t even obligated to disrobe this time around, which I attribute to a sign of respect and affection from director to actress. The married and lived happily ever until Ercoli’s death in 2015.

Features both Blu-ray and DVD editions of the films, newly remastered from a 2K restoration from original camera elements and featuring both Italian and English language soundtracks with optional English subtitles. High Heels features commentary by giallo historian Tim Lucas and interviews with director Luciano Ercoli and actress Nieves Navarro from 2012 (24 mins), screenwriter Ernesto Gastaldi from 2015 (32 mins), and composer Stelvio Cipriani from 2015 (26 mins), and a brief video introduction by Gastaldi. Midnight features commentary by Lucas, a 2015 interview with Ernesto Gastaldi (31 mins), visual essay “Desperately Seeking Susan” by Michael Mackenzie that explores at the collaboration between Ercoli and Nieves (27 mins), and the alternate TV version of the film, which runs four minutes longer and features additional and alternate footage. The alternate version is taken from an inferior video source. The accompanying 60-page booklet features new essays by Danny Shipka, Troy Howarth, and Leonard Jacobs. The box set is limited to 3000 copies.

killerdamesKiller Dames: Two Gothic Chillers by Emilio P. Miraglia(Arrow/MVD, Blu-ray+DVD) pair up the only two giallidirected by Miraglia, who learned the ropes of genre filmmaking working his way through the studio system as a script supervisor and assistant director before making his directorial debut in 1967 with the crime thriller Assassination. Miraglia is more indebted to the Gothic tradition in his brief engagement with the giallo and his two features, which are embraced by some critics as minor classics of the genre, are more mystery thriller than horror. They also, like Blood and Black Lace and Death Walks at Midnight, embrace the fashions of the era, which he weaves into the Gothic flashback to create something a little different for the genre.

The Night Evelyn Came Out of the Grave (1971) opens with the attempted escape from an asylum, and then jumps ahead to his freedom. Lord Alan Cunningham (Anthony Steffen) is a handsome widower living in a run-down mansion in the countryside haunted by memories of his dead wife. To deal with the grief he frequents nightclubs and strip joints in the city, looking for red-headed beauties who resemble his late wife, then proceeds to lure into the family dungeon to torture and kill. Yes, all those dreamy, soft-focus reveries of naked romps in the woods turn out to be memories of his wife’s affairs. His release from psychiatric observation was apparently premature but in perhaps the most unexpected twist in the film he shifts from villain to victim. When he marries Gladys (Marina Malfatti), a woman whose wardrobe is defined by dizzying plunging necklines and blouses that surely must be glued to her breasts, mere hours after they meet at Gothic-chic party, the dead Evelyn appears. Whether she’s an actual ghost or an elaborate scheme, there is something decidedly human killing off members of the manor and there is no shortage of suspects—a bitter wheelchair-bound aunt, the brother of the dead wife who slinks around spying on everyone, a devoted cousin who keeps showing up—or victims.

It’s a confused plot—by the time the film ends it’s completely forgotten that he’s an insane serial killer—with details that are a dubious even for the coincidence-laced genre. Seriously, who leaves an open bag of powdered sulfuric acid next to a swimming pool? But it’s also a handsome film with great locations and art direction and a memorable mix of fashions. The walk through the dark, decrepit old manor let slide into ruin that ends up in Alan’s modern, well-life bachelor pad is an effective bit of atmospheric whiplash in a film where the past and present are constantly colliding, and the journey to the family crypt is like a trip back hundreds of years (or at least to an early sixties Italian Gothic horror film).

Red Queen Kills Seven Times - image courtesy of DVD Beaver

Red Queen Kills Seven Times – image courtesy of DVD Beaver

The Red Queen Kills Seven Times (1972) refers to an ancient family curse that a kindly grandfather (Rudolf Schündler) tells his constantly battling young granddaughters, who are already on the verge of fulfilling it: every hundred years, a brutal, bullying heir to the manor is killed by her sister and then returns from the grave to kill seven times, the final victim being her murderer. Jump fourteen years ahead and Kitty (Barbara Bouchet), the blond sister, is now a photographer for a Berlin fashion house and the brunette sister is missing (“moved to Canada,” everyone says) when the grandfather dies and the Bavarian family castle is to pass to the girls. In fact, the sister is dead and the curse begins again as members of the family and the fashion house are murdered by a mysterious figure clad in black with a red cape. Like Evelyn before it, the DNA comes from the German krimi, and this one is even set and shot in Germany. Details that appear confusing at first—three of the leading actresses have a startling resemblance, to the point that you might mistake one for another—pay off by the end. The plots is overly confusing (common to the genre) bit it ultimately fits together nicely (not so common). Also note an early role by future genre star Sybil Danning.

Both of Miraglia’s films straddle the old and new. Their sophisticated, fashionable protagonists live modern urban lives yet are constantly drawn back to the family manor, a legacy rooted in family history and tragedy. These are centuries-old mansion and castles where paintings of the dead keep the past around as if haunting the place. His character have inherited the baggage of family history and it weighs heavily on them. It’s a sensibility reminiscent of Corman’s Poe films brought into the modern world and that past struggles with the present for control over our heroes.

Features both Blu-ray and DVD editions of the films, newly remastered from a 2K restoration from original camera negatives and featuring both Italian and English language soundtracks with optional English subtitles. Evelyn features new commentary by Troy Howarth and interviews with actress Erika Blanc and critic Stephen Thrower, plus archival interviews with Blanc and production designer Lorenzo Baraldi and a brief video introduction by Blanc. Red Queen features new commentary by Alan Jones and Kim Newman, interviews with actress Sybil Danning and Thrower, an alternate opening, and a brief video introduction by Baraldi, plus archival interviews with Baraldi and actors Marino Masé and Barbara Bouchet and the interview featurette “If I Met Miraglia Today” with Blanc, Baraldi, and Masé. The accompanying 60-page booklet features new essays by James Blackford, Kat Ellinger, Leonard Jacobs, and Rachael Nisbet. The box set is limited to 3000 copies.

edgarblackcatsEdgar Allan Poe’s Black Cats: Two Adaptations by Sergio Martino & Lucio Fulci (Arrow/MVD, Blu-ray+DVD) pairs up two Italian films that use Edgar Allan Poe’s “The Black Cat” as a foundation for bloody horror but otherwise have little in common.

Your Vice Is a Locked Room and Only I Have the Key(1972), directed by Sergio Martino, is the more interesting of the two, and it stars the voluptuous, dark-eyed beauty Edwige Fenech, the sex bomb of giallo, in what was (in the words historian Justin Harries) “Her finest and most atypical role.” Oliveira (Luigi Pistilli) is a once popular novelist now blocked and taking out his frustrations on his poor abused wife, Irina (Anita Strindberg). He carries on flagrant affairs and plays the decadent lord of the manor for the flower children of a local tent camp. Fenech is the writer’s gorgeous young niece Floriana, a sexy free spirit who arrives for a visit and immediately stirs things up when she gets involved with a motocross racer, an affair that riles up the writer. Meanwhile all of Oliveira’s mistresses are systematically and brutally murdered. It’s classic giallo: a mysterious killer stalking beautiful women, interspersed with scenes of sex, sadism, voyeurism, and utterly gratuitous nudity. But it’s built on a narrative architecture that is faithful to the Poe short story—a black cat named Satan, a family treasure, and a conspiracy of terror behind the murders. It’s just filled out with giallo twists and spectacle, the most glorious spectacle being the voluptuous, dark-eyed Fenech.

The Black Cat (1981), directed by Lucio Fulci, throws in elements from other Poe tales. Patrick Magee stars as a psychic who can send his pet cat to kill his enemies and Mimsy Farmer as a photographer and amateur detective who notices the scratches on each victim that the cops missed. It’s a confusing mystery and a muddled film and while it features blood and nudity, it is tame compared Fulci’s infamous gore classics.

Your Vice Is a Locked Room features a new interview with Sergio Martino (34 mins), the retrospective featurette “Unveiling The Vice” featuring interviews with Martino, star Edwige Fenech, and screenwriter Ernesto Gastaldi (23 mins), the visual essays “Dolls Of Flesh And Blood: The Gialli of Sergio Martino” by Michael Mackenzie and “The Strange Vices of Ms. Fenech” with film historian Justin Harries (30 mins apiece), and a brief interview with Eli Roth. The Black Cat features commentary by filmmaker and Fangoria editor Chris Alexander, the featurette “Poe into Fulci: The Spirit of Perverseness” with film historian Stephen Thrower (25 mins), a new interview with actress Dagmar Lassander (20 mins), an archival interview with actor David Warbeck (70 mins), and the featurette “In the Paw-Prints of the Black Cat” on the film’s locations (8 mins). The box set is limited to 3000 copies and features a booklet. Also available separately with all the supplements except the booklet.

tenebraeTenebrae (Synapse, Blu-ray, DVD) – Dario Argento’s 1982 feature was his return to the classic giallo after his excursions into supernatural horror with Suspiria (1977) and Inferno (1980). Anthony Franciosa stars as Peter Neal, a best-selling thriller novelist whose promotional tour in Italy takes a terrible turn when a mysterious killer recreates the brutal murders from his book with real life victims. At first the killer targets so-called “deviants,” then Neal’s own friends, and finally promises that the author himself is next on the list, which prompts the author to turn detective.

Columbo it ain’t, but Argento has always been more concerned with style than story and his execution of the crimes is pure cinematic bravura. From the simple beauty of a straight-razor shattering a light bulb as the camera catches the red hot filament slowly black out to an ambitious crane shot that creeps up and over the sides of a house under siege in a voyeuristic survey that would make Hitchcock proud, Argento turns the art of murder into stylish spectacle. He even lets his kinkier side show with flashbacks of an adolescent boy and a teasing dominatrix in red stiletto heels, which come back as a key motif of the film. There’s something creepy about Argento’s fascination with the slicing and dicing big eyed, scantily clad Italian beauties, which he addresses with self-deprecating humor in a scene where Neal is taken to task for the misogynist violence of his stories, but his cinematic command of color and movement and point of view gives it a perverse beauty and he knows how pull a cinematic surprise.

Previously on DVD, the Blu-ray debut features the original Italian cut newly remastered from the original camera negative and the color is glorious. New to this edition is commentary by Argento expert Maitland McDonagh and the 90-minute documentary Yellow Fever: The Rise and Fall of Giallo from Calum Waddell, which chronicles the development of the genre from its roots in early 20th century crime fiction and its influence on the modern slasher film. Rare English-language sequence insert shots are mastered in HD and playable within the film via Seamless Branching, and the disc include the American credits sequence (retitled Unsane in its original American release). The limited-edition Steelbook special edition also includes a bonus DVD copy, a CD soundtrack, and a booklet.

horriblehichThe Horrible Dr. Hichcock (Olive, Blu-ray, DVD) is not exactly giallo but it is a forerunner to the genre. The 1962 Italian horror from Riccardo Fredo (under the name Robert Hampton) stars Barbara Steele (whose voice is dubbed) as the new young wife to widower aristocrat and famed surgeon Dr. Bernard Hichcock (Robert Flemyng), who wife accidentally died years ago while playing their (consensual) kinky sex games. She arrives in the grand old manor to find the legacy of the dead wife dominating the household.

The title is only the most prominent tribute to Alfred Hitchcock. The setting and plot evoke Rebecca and Notorious, right down to Harriet White as the severe, old family maid who remains devoted to the dead mistress and keeps certain doors locked from the new lady of the manor, and a skull found hidden under the bed covers is out of Under Capricorn. (Tim Lucas wrote a great Video Watchblog piece on the film’s influence of and homage to Alfred Hitchcock.) The style, however, is in the tradition of the Roger Corman Poe movies of the early 1960s, with Gothic style, intense color, sets that look evoke ancient castles and spooky dungeons, and that distinctive obsession with death with a kinky Italian twist that gets picked up in giallo. The hidden doorways and secret rooms, the basement chamber, even the cat slinking through scene after scene, all come from Poe.

Olive gives the film its American disc debut on a terrific-looking disc. No supplements and it’s the shorter, English-dubbed American cut only, but it’s essential for fans of giallo and Barbara Steele.

manhattanbabyManhattan Baby (Blue Underground, Blu-ray+DVD+CD) – Lucio Fulci directs yet another knock-off of The Exorcist, this one starring Christopher Connelly as an archeologist who brings his family to Egypt. A blind woman in a marketplace gives his daughter (Brigitta Boccoli) an ancient amulet that apparently imbues her with a curse, or perhaps a demonic possession, that she carries back to New York City. Connelly is the token American star in an otherwise Italian cast, with Cinza De Ponti (Miss Italy of 1979) as the family nanny and Cosmimo Cinieri (who also co-starred in Fulci’s The New York Ripper) is the antiques dealer and amateur exorcist. Fulci also borrows from The OmenPoltergeist, and other films, and tosses them all together with his own obsessions (eyes and blindness) in this supernatural mess. Fulci, whose cavalier way with narrative logic stands out in a genre where such issues are routinely ignored, has his fans, thanks to the bizarre beauty and surreal spell of his best films. This isn’t one of his best but it has its moments and Blue Underground delivers a terrific three-disc special edition

Both the Blu-ray and DVD discs feature the great collection of new video interviews with composer Fabio Frizzi (56 minutes), actor Cosimo Cinieri (9 minutes), makeup effects artist Maurizio Trani (11 minutes), and Fulci historian Stephen Thrower (12 minutes), plus a live studio performance of Fabio Frizzi playing the main theme. Carried over from the previous DVD release is an 8-minute interview with co-writer Dardano Sacchetti. Also includes a bonus CD with Fabio Frizzi’s soundtrack and a booklet with an essay by Fulci specialist Troy Howarth.

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