Friday, 30 December, 2016
With 2016 finally drawing to a close we would like to wish each and every one of our loyal listeners a very Happy New Year! Recorded earlier this year and saved for this celebratory occasion we invite you to enjoy the return of Movie Matters [Music]: our spin-off series where soaring, bombastic, introspective and timeless film scores reverberate. To begin Volume 7, Lee Howard plays quizmaster and challenges co-hosts Michael Mackenzie and Dan Sardella to a “Guess the Giallo Grooves” game, how many can you answer correctly? The trio then curate a grab bag of tracks chosen by themselves as well as featuring a number of long overdue listener soundtrack requests (many thanks to Phil Walsh, Bryan McGrath, Wilson McLachlan and Tony Black).
As is our custom, we’ve deliberately omitted the track listing from this post in an attempt to keep the soundtrack choices a surprise. On that note, beware of reading the “links for reference” below if you do not wish to see any potential spoilers. However, for those curious, please refer to our dedicated Movie Matters [Music] Discography list on LetterBoxd. This ongoing list will be updated with the full track and composer information should you wish to seek out and purchase the full scores.
Remember, we’d love for you to get in touch – email@example.com – and let us know your thoughts on this episode/the film music we featured. Moreover, why not request a track you’d like to hear on a future Movie Matters [Music] instalment? Please include details of the composer, the track name, the film/soundtrack the piece is from and most importantly why you like it.
So settle in with a beverage and a comfy pair of headphones, count down the demise of 2016 with some fine film music and commentary with your friends at Movie Matters. We raise a glass with you, to 2017 and the films and film scores to come. Happy New Year!
Sunday, 12 June, 2016
Today’s instalment of the Movie Matters Podcast sees co-hosts Lee Howard and Michael Mackenzie taking a look at a pair of thrillers from the heyday of Italian cult cinema, both starring distinctive American actress Mimsy Farmer. First up, we begin by discussing Farmer’s career and unique appeal with special help from friend of the show, author Troy Howarth (SO DEADLY, SO PERVERSE). We then cover two distinctly different films which nonetheless share a great many characteristics: 1974’s THE PERFUME OF THE LADY IN BLACK and 1975’s AUTOPSY.
The music in today’s episode is from THE PERFUME OF THE LADY IN BLACK by Nicola Piovani, and AUTOPSY and FOUR FLIES ON GREY VELVET by Ennio Morricone.
Special thanks to Troy Howarth, Sandy Richardson, Leonard Jacobs, Andrew Liverod, Torsten Luth and Cevin Moore for their thoughts on today’s featured films, and to Ian Hill for his feedback on our recent Luciano Ercoli/Nieves Navarro double bill.
Also, keep your ears peeled for a chance to win a copy of Arrow Video’s recent Michael Mackenzie-produced OUTLAW GANGSTER VIP: THE COMPLETE COLLECTION box set. Full details on the show!
Tuesday, 12 April, 2016
Death walks onto Movie Matters this month as we indulge in some fun and frivolity in this Luciano Ercoli and Nieves Navarro aka Susan Scott giallo triple-bill. Join us as we ogle THE FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION (1970), shimmy and simmer when DEATH WALKS ON HIGH HEELS (1971) and countdown to our demise via spiked glove to the face as DEATH WALKS AT MIDNIGHT (1972).
Writer and ‘Godfather of the Giallo’ Ernesto Gastaldi wrote the scripts for this trio of hip and often humorous gialli, featuring a cast of familiar faces such as Simon Andreu (DEATH CARRIES A CANE), Dagmar Lassander (HATCHET FOR THE HONEYMOON), Luciano Rossi (SO SWEET, SO DEAD), Pier Paolo Capponi (THE CAT O’NINE TAILS), Frank Wolff (CALIBER 9), George Rigaud (A LIZARD IN A WOMAN’S SKIN), Fabrizio Moresco (THE RED QUEEN KILLS SEVEN TIMES), Pietro Martellanza aka Peter Martel (THE FRENCH SEX MURDERS), Carlo Gentili (THE MAGNIFICENT DAREDEVIL) and ‘Navarro-alike’ Claudie Lange.
Plus we have our own ‘star’ cameo as author and giallo expert Troy Howarth kindly introduces and offers an overview of our featured director, Luciano Ercoli, and his beloved leading lady, the inimitable Nieves Navarro.
We also belatedly respond to some listener feedback and have a glut of new DVD/BD winners in our Movie Matters random lucky dip. To enter, simply leave us a review on iTunes and a DVD/BD from our personal collections will be yours!
The music in today’s episode is from Ennio Morricone’s score (feat. Edda Dell’Orso) for THE FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION, Stelvio Cipriani’s music (feat. Nora Orlandi) for DEATH WALKS ON HIGH HEELS and DEATH WALKS AT MIDNIGHT by Gianni Ferrio (feat. Mina).
Sunday, 15 November, 2015
For this, the sixth annual Movie Matters Halloween special, Lee Howard and Michael Mackenzie welcome back to the hosting chair Demented Danman aka Focus on Film’s Daniel Sardella. On this occasion we give our autumnal ‘frightivities’ a twist of yellow as we hand-pick three gialli to dissect and discuss.
The movies under the analytical knife in this ‘Gialloween’ triple bill are: Paolo Cavara’s stylishly sadistic THE BLACK BELLY OF THE TARANTULA (1971), Massimo Dallamano’s undeniably sleazy but still deeply affecting ‘schoolgirls in peril’ mystery WHAT HAVE YOU DONE TO SOLANGE? (1972), and finally an ‘American giallo’, the deliriously unhinged and highly controversial psychosexual thriller DRESSED TO KILL (1980), directed by Movie Matters favourite Brian De Palma.
In between the featured reviews, we also catch up on what other gialli and horror films we’ve seen in the month of October and any 2015 horror movie highlights seen recently.
We’d like to thank friend of the podcast and author Troy Howarth for again supplying us with insightful written contributions and all of the Movie Matters community who kindly shared their Halloween horror viewing experiences with us. Plus we’re delighted to belatedly share the ‘All Giallo’s Eve’ spirit by including some fantastic artwork designed by Movie Matters logo creator Rich Wells. We surely speak for many when we wish we could have bundled round to Rich’s house to join him in watching these gialli and sip J&B as we play an unmistakably Italian variant of Top Trumps!
The music in this episode is sampled from HALLOWEEN by John Carpenter, WHAT HAVE YOU DONE TO SOLANGE? and THE BLACK BELLY OF THE TARANTULA by Ennio Morricone, and DRESSED TO KILL by Pino Donaggio.
Links for reference:
Wednesday, 2 September, 2015
Ciao and welcome to another Italian genre cinema themed instalment of the Movie Matters Podcast. In this episode, join Lee Howard and Michael Mackenzie as we champion the work of often overlooked 1960s/1970s filmmaker Luigi Bazzoni. First, we feast our eyes over one of the most visually distinct gialli ever filmed in 1971’s THE FIFTH CORD, starring Franco Nero, Silvia Monti, Pamela Tiffin and a host of familiar euro-genre stalwarts. We’re then taken on a hallucinatory mind-trip in 1975’s baffling but beautiful FOOTPRINTS ON THE MOON (a.k.a LE ORME), starring Florinda Bolkan, Nicoletta Elmi, Evelyn Stewart/Ida Galli, Peter McEnery and Klaus Kinski.
In this episode we also refer to and read-out a range of insights and opinions offered by our esteemed listeners in relation to Luigi Bazzoni and his films. Specifically, we’d like to direct attention to an excellent overview of Bazzoni’s career written by Jason Coffman which can be read in full here. Jason also wrote to us and provided invaluable information regarding Bazzoni’s obscure epic-length documentary about Roman culture and its historical influence on civilisation — details and images of which can be accessed here with his blessing. Plus, new listener of the podcast Peter (a.k.a. @SignorWardh), provided us with a fascinating comparison between THE FIFTH CORD and the David McDonald Devine source novel in an email to us which he has given permission for us to make available to all our listeners here.
The music in this episode is sampled from THE FIFTH CORD by Ennio Morricone, MAN, PRIDE AND VENGEANCE by Carlo Rustichelli, FOOTPRINTS ON THE MOON by Nicola Piovani and THE SHORT AND HAPPY LIFE OF THE BROTHERS BLUE by Tony Renis.
Links for reference:
Wednesday, 2 September, 2015
As a further addendum to our Luigi Bazzoni double bill episode, Jason Coffman provided us with this fascinating postscript to his excellent article The Films of Luigi Bazzoni, which we reproduce here with his permission.
So around the time I wrote the Bazzoni piece, I was trying to find out information on his “Roma Imago Urbis” project. IMDB only has a tiny bit of information on it, but I discovered after digging around a bit that it was a huge project, a 15-part documentary running as many hours with each part focusing on a different part of Roman culture and how it has influenced human civilization throughout history. Just to make it even more ridiculously ambitious, there are no actors in the film, just images and narration (in Italian, of course) accompaniment. Once Bazzoni completed it, “Roma Imago Urbis” screened at the Metropolitan Museum of Art in New York to accompany an exhibit of Roman art. After that, it aired once on Italian television, and has never been released outside of Italy. In Italy, it was released on VHS in a massive (and hugely expensive) boxed set of tapes with accompanying books and replicas of Roman coins. From what information I’ve been able to glean, it looks like the set was pressed in 1992 or 1993 and ran something like $700-$800.
I managed to find a mint sealed copy of the set on Ebay Italy for about $200 U.S., but the seller would not ship it to me here in the States because it would have been ridiculously expensive and a huge pain. Fortunately, I have been involved with a few projects on an online forum dedicated to European cinema where an English- and Italian-speaking cinephile living in Italy obtained 35mm prints of a few “lost” films and gathered people together to contribute to getting them transferred to digital and subtitled. We put together a plan to get the set into his possession so he can rip the documentary to digital format and work on creating subtitles for it. He’s still working on a few other similar projects, but he did transfer the first part of “Roma Imago Urbis” and posted some screen caps from it on the forum. I’m attaching them here so you can have a look at them.
It’s probably going to be quite some time yet before this is finally available in an English-friendly version, but we found enough fans of Bazzoni to get together and hopefully get his final project out there for people to see. Bazzoni worked on this for years, and it’s a shame that it’s hardly ever been seen. He passed away in 2012, and never directed again after completing “Roma Imago Urbis.” Here’s hoping we’ll eventually be able to help get his lost passion project into the world where it can be appreciated, and maybe working on this project will help spur the rights holders to make an official DVD or Blu-ray release of the film!
Wednesday, 2 September, 2015
As an addendum to our Luigi Bazzoni double bill episode, we present this comparison between the film version of THE FIFTH CORD and its source novel, kindly provided to us by Peter (a.k.a. SignorWardh) and reproduced here with his permission.
THE FIFTH CORD has been a favourite giallo of mine ever since I first saw it. There are a number of reasons for this; the stunning cinematography, the great set pieces, the excellent cast and one of Morricone finest giallo soundtracks. The script however has always felt a bit confusing to me. I’ve had the feeling that important bits of information have been left out and found myself struggling to keep up with some of the plot developments. Having read the source novel, a lot has fallen into place and given me information that doesn’t really come across in the film. It really made me enjoy the film even more when I revisited it the other night.
D.M. Devine’s book is hardly great literature, but it’s an enjoyable classical detective story. It didn’t necessarily strike me as something that cried out to be filmed, but Bazzoni, Mario Fanelli and Mario de Nardo obviously saw something in it and I’m glad they did. A number of things have been changed in the film of course. The story’s setting has been moved from the smaller town of Kenburgh, somewhere in northern Britain, to an urban Italian setting.
Franco Nero’s character Andrea Bild is called Jeremey Beald in the book and his portrayal is fairly close to how the character is written in the book. He is described as a gifted reporter with a big heart, but who is disillusioned with his career and life in general and is on the verge of full-blown alcoholism. A lot of his problems seem to hark back to a wrong-doing from a former colleague (who also appears in the book). This wrong-doing is alluded to numerous times in the book, but the nature of it is never fully-explained.
The character played by Pamela Tiffin, Lù Auer, is called Kathleen Ryan in the book and her brother Ryan (Walter in the film) is a witness to the first attack.
Helene is called Helen in the book and is widowed (rather than being married and in the process of divorce). She is an old school friend of Jeremy’s and it’s fairly clear from the beginning that she’ll develop into a love interest. She is very protective of Jeremy and wants to help him pull himself together, but he keeps pushing her away. She comes off a bit more harsh and fed up with Nero in the film, but I think she is well portrayed by Silvia Monti. Her son Tony is called Peter in the book and is 11 years old, considerably older than in the film.
Richard Bini and his disabled wife Sophia are called Dick and Alice Binnie. They’re portrayed in much the same way in the book as in the film. The doctor resents his wife (the bedridden victim of a stroke and former bridge partner of Jeremy’s) and is cheating on her with his receptionist.
Edmund Purdom and Ira von Fürstenberg and characters Edouard and Isabel are called Duncan and Isabel and are featured a lot more in the book. Edmund’s father also plays an important role in the book.
The character of Lubbock is the one who differs to most. In the book it’s a woman called Jean Lubbock. A teacher at the school, who is described as a “pathetic creature, unattractive in looks and in personality.”
The introduction of the main characters is made at a parent-teachers association meeting rather than the swanky nightclub setting of a New years eve party. I really like the opening in the film, but I think it somewhat misses the mark from a narrative point of view. You can hear the guests congratulating Isabel and Edouard, but I think the introduction of the characters and their relationships could have been made a bit clearer from the beginning.
The film continues to follow the plot of the book fairly well for the first couple of murders. The initial attack in the tunnel and the murder of Dr Binis’s wife are very alike, but the third murder of the newspaper editor is an amalgamation of two murders in the book; the murder of the editor (who is a senior reporter in the book) and the attempted murder of Edouard’s father, where he succumbs to a heart attack before he is killed.
After this murder the script deviates quite a bit from the book. A lot of time is spent at the news desk in the book, but that has been left out in favour of scenes that presumably worked better on-screen. These include the visit to Lu’s brother Walter at the race track and the whole sex party sub-plot.
The attempted murder of Tony is changed as well. In the book it happens during the daytime when Helen has popped out to the hairdressers. The change-up up to the empty and stylish villa obviously works a lot better on-screen and is one of my favourite sequences in the film. The denouement is changed as well. The lengthy final chase sequence is added.
One of the biggest mysteries has always been why it’s called The Fifth Cord. The title makes a lot more sense in the book though. A card from firm of undertakers is found at the site where Lubbock is attacked (see attached picture of the books cover). The card is handed to near relatives and friends of the deceased to indicate which cord they are to hold at the interment. At the subsequent murders scenes, a card with a “No. 2 Cord” etc are found pinned to the victims (as opposed to the gloves found with fingers cut off in the film). All the victims are strangled with a piece of cord, unlike in the film where they are dispatched of in numerous ways.
The motive for the killing in the book is revenge. Jean was in love with Duncan and thought the feelings were being reciprocated. The humiliation of being present when Duncan announced his engagement to Isabel brought on lust for revenge, so she hatched a plan to commit a string of murders and pin them on Duncan. The attack she was subjected to on the way home from the school function gave her the idea. She’d been attacked, but had survived. The undertakers business card would link the attack with the subsequent murders and she limited herself to defenceless people so she didn’t have the strength to deal with a healthy adult. In the book the killers confessions are written in a way as to subtly incriminate Duncan when they were found. There are no anonymous phone calls and theirs is nothing relating to dates or zodiac signs.
Although I can see why some change was made to the book (and some for the better), I find it difficult to see why the script dropped the Cord angle. They worked better than the star signs. Especially since the film doesn’t do a very good job of conveying the passing of time. It’s only when the film is wrapped up that you realize that quite a few months have passed during the film. But I suppose logic and a clear narrative is not always something that can be expected from the genre. Regardless of its faults, THE FIFTH CORD remains a great giallo that I happily return to and I wish that Franco’s character would have returned in further films.
Wednesday, 5 August, 2015
For our next episode, we’ll be returning once again to a subject dear to our hearts — Italian cult cinema, with a double bill focusing on the work of director Luigi Bazzoni: 1971’s THE FIFTH CORD, his stylish giallo starring Franco Nero, and 1975’s head-scratcher FOOTPRINTS (a.k.a. FOOTPRINTS ON THE MOON), starring Movie Matters favourite Florinda Bolkan. We’d love to hear your thoughts on these films, or indeed on Bazzoni’s output as a whole.
If you’ve got something to contribute, whether in text form or an MP3, please get in touch. Either reply below the line, email firstname.lastname@example.org or use the contact form on the web site.
We hope to hear from you soon!
Tuesday, 26 May, 2015
The listeners have spoken and we have listened! The Movie Matters Podcast is ramping up its coverage of all things giallo, starting with this double feature exploring the films of Lucio Fulci. Join Lee Howard and Michael Mackenzie as they examine two of the Godfather of Gore’s most distinctive contributions to the genre: 1969’s erotic melodrama ONE ON TOP OF THE OTHER (a.k.a. PERVERSION STORY), starring Jean Sorel, Elsa Martinelli and Marisa Mell, and 1977’s tale of psychic paranoia MURDER TO THE TUNE OF THE SEVEN BLACK NOTES (a.k.a. THE PSYCHIC or SEVEN NOTES IN BLACK), starring Jennifer O’Neill, Marc Porel and Gianni Garko.
This episode also includes an overview of the conventions of the more erotically charged gialli epitomised by ONE ON TOP OF THE OTHER, and contributions from a range of listeners and giallo connoisseurs.
The music in this episode is sampled from ONE ON TOP OF THE OTHER by Riz Ortolani and MURDER TO THE TUNE OF THE SEVEN BLACK NOTES by Franco Bixio, Fabio Frizzi and Vince Tempera.
Links for reference:
Wednesday, 13 May, 2015
The first of two tomes charting the giallo film from its inception to the present day, Volume 1 of Troy Howarth’s SO DEADLY, SO PERVERSE: 50 YEARS OF ITALIAN GIALLO FILMS is the sort of book fans of the giallo have been crying out for. Its spiritual predecessor is arguably Adrian Luther Smith’s excellent (if now surpassed) BLOOD AND BLACK LACE, and indeed structurally it owes a clear debt to that earlier book, but Howarth goes considerably further and into far more detail than that pioneering work.
Covering the first 20 years of the giallo film’s lifespan, 1963 to 1973, Volume 1 begins with the expected introductions (provided by veteran giallo screenwriter Ernesto Gastaldi) and attempts to define that most ambiguous of genres, before launching into an examination of early prototypical gialli, films with giallo elements but which don’t quite make the grade as “true” gialli, and the literary gialli from which the filmic movement derives its name but to which it bears only a passing resemblance. This latter chapter, written by film historian Roberto Curti, is particularly insightful and breaks genuinely new ground. It provides the book with a unique selling point, charting an aspect of the giallo’s development that hasn’t been adequately explored elsewhere, since English-speaking authors lack the context necessary to unpick it.
The “meat and potatoes” of the book, however, is the 190 pages’ worth of film reviews, cataloguing and appraising every known giallo to have been produced between 1963 and 1973. This section is truly exhaustive, digging up a number of titles I’d personally never even heard of, and even one or two that are now believed to be lost to the ages. For each review, the structure is the same: Howarth provides the main cast and crew credits, a brief (spoiler-free) synopsis and a more detailed review, concluding with a discussion of the careers of some of the more significant players on both sides of the camera. The reviews are insightful, in-depth and well-observed. Howarth isn’t afraid to make it clear when a particular film isn’t up to scratch (and says one or two scathing things about some of the, shall we say, less outstanding actors and directors associated with the movement), but he’s also fair, pointing out the individual moments of pleasure that can be found in even the schlockiest and most ineptly made of giallo (and, let’s be honest, there are quite a few which fit that category). The films of “big beasts” like Argento, Fulci, Bava and Martino understandably get the lion’s share of the praise, but little-known gems also get their moment in the spotlight, including the likes of Fernando Di Leo’s NAKED VIOLENCE and Damiano Damiani’s A RATHER COMPLICATED GIRL.
It’s worth pointing out that Howarth omits certain titles that some readers might expect to be included since he doesn’t consider them to be part of the movement. This is unavoidable, since “giallo” is a vague term and much disagreement exists as to its precise parameters. Personally, I would have included Aldo Lado’s SHORT NIGHT OF THE GLASS DOLLS (omitted here) and left out the likes of the western/giallo hybrid RINGO, IT’S MASSACRE TIME, but such is the beauty of a movement that, like film noir, is easier to recognise than to define (the “I know it when I see it” principle).
Any flaws are minor and don’t impact substantially on the overwhelmingly positive qualities of the book; however, I feel that they should be acknowledged for completeness’ sake. These are largely structural, stemming from the decision to separate the films by year of release and order them alphabetically within each year. This results in some slightly odd moments in that individual reviews often “refer forward” to another film that was actually released before the one currently being discussed -- for instance, we read about Sergio Martino’s second giallo, THE CASE OF THE SCORPION’S TAIL, before his first, THE STRANGE VICE OF MRS. WARDH (both 1971), which is slightly confusing given the extent to which the latter set the template for Martino’s subsequent gialli. That’s perhaps the downside of attempting to read a reference tome like this from cover to cover. However, the lack of any page references in the index of titles at the end, and the fact that production dates aren’t provided in the reviews themselves (the year is listed only once, at the start of each “section”), makes it difficult to dip in and out.
But these are minor organisational quibbles. In his foreword, Howarth acknowledges that he didn’t set out to write the be-all-and-end-all book about the giallo, and while it doesn’t replace the likes of Mikel Koven’s excellent LA DOLCE MORTE (which addresses a different audience and serves a different purpose), SO DEADLY, SO PERVERSE feels entirely at home among such lofty company. Experienced giallo aficionados and those new to the genre alike will want to pick this up without delay, and get their pre-orders in for Volume 2, which promises to explore the rather more sporadic output of the last 40 years.
Monday, 11 May, 2015
We’re gearing up to record our next episode, a giallo double bill focusing on two of the legendary Lucio Fulci’s best films: 1969’s ONE ON TOP OF THE OTHER (a.k.a. PERVERSION STORY) and 1977’s SEVEN NOTES IN BLACK (a.k.a. THE PSYCHIC OR MURDER TO THE TUNE OF SEVEN BLACK NOTES). In addition to our own thoughts on these films, we’d love to be able to feature as much input from you the listeners as possible, on these films, Fulci himself or indeed any of his other work.
If you’ve got something to contribute, whether in text form or an MP3, please get in touch at some point before Friday. Either reply below the line, email email@example.com or use the contact form on the web site.
We hope to hear from you soon!
Sunday, 8 March, 2015
In this, the 30th instalment of the Movie Matters Podcast, co-hosts Lee Howard and Michael Mackenzie return to a subject close to both their hearts -- that most distinctive of moments, the Italian giallo. Two radically different examples of the genre are up for consideration, both from 1972 -- Sergio Martino’s giallo/occult hybrid ALL THE COLOURS OF THE DARK, starring the golden couple of Edwige Fenech and George Hilton, and Aldo Lado’s sombre, Venetian thriller WHO SAW HER DIE?, starring George Lazenby and Anita Strindberg. In addition to covering the aforementioned two films in depth, we also hear listener Leonard Jacobs’s thoughts on ALL THE COLOURS OF THE DARK, and catch up on some of our recent viewing and future plans for the podcast.
The music in this episode is sampled from THE STRANGE VICE OF MRS. WARDH by Nora Orlandi, THE CASE OF THE SCORPION’S TAIL and ALL THE COLOURS OF THE DARK by Bruno Nicolai, and WHO SAW HER DIE? and SHORT NIGHT OF THE GLASS DOLLS by Ennio Morricone.
Monday, 1 July, 2013
We’re back, doing what we do best, discussing cult Italian murder-mystery cinema. In this much anticipated (well, by us at any rate) return episode co-hosts Lee Howard and Michael Mackenzie ‘come home’ by taking an in-depth look at the Oscar-winning, satirical crime-drama INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970) directed by Elio Petri and Lucio Fulci’s hallucinatory and erotically charged giallo A LIZARD IN A WOMAN’S SKIN (1971), both of which star Brazilian beauty Florinda Bolkan.
We also take a brief pause to highlight what new releases have caught our attention in the first six months of 2013 as well as casting an eye over a selection of recent BD/DVD purchases.
The audio and music sampled in this episode is taken from INVESTIGATION OF A CITIZEN ABOVE SUSPICION and A LIZARD IN A WOMAN’S SKIN. Both scored by Ennio Morricone with orchestration by Bruno Nicolai.
The article by Gino Moliterno about INVESTIGATION OF A CITIZEN ABOVE SUSPICION referred to on the show can be accessed here.
The two highly recommended books we reference during our discussions are:
Tuesday, 7 June, 2011
In this special giallo-themed episode of the Movie Matters podcast, regular hosts Lee Howard and Michael Mackenzie welcome special guest and giallo enthusiast Sandy “The Gialli Fan” Richardson of the Dark Dreams web site to discuss that unique brand of Italian murder-mystery thrillers from the 70s. In addition to delving into three films by the “big three” giallo directors - Mario Bava’s BLOOD AND BLACK LACE, Lucio Fulci’s DON’T TORTURE A DUCKLING and Dario Argento’s DEEP RED - Lee, Michael and Sandy also count down the top 10 giallo films as submitted by the listeners, reveal their own personal favourites and suggest some must-have giallo DVD and Blu-ray Disc releases.
Please note that this podcast contains spoilers for the films featured.
The music sampled in this episode is from DEEP RED (Giorgio Gaslini and Goblin), OPERA (Claudio Simonetti), BLOOD AND BLACK LACE (Carlo Rustichelli), THE STRANGE VICE OF MRS. WARDH (Nora Orlandi), DON’T TORTURE A DUCKLING (Riz Ortolani), WHAT HAVE YOU DONE TO SOLANGE? (Ennio Morricone), STRIP NUDE FOR YOUR KILLER (Berto Pisano), THE CASE OF THE BLOODY IRIS (Bruno Nicolai) and THE BIRD WITH THE CRYSTAL PLUMAGE (Ennio Morricone). Special thanks to David Mackenzie for audio support.
Monday, 23 May, 2011
We (Michael & Lee) are planning on recording the next episode of the Movie Matters podcast in the first week of June, along with our good friend Sandy, a.k.a. The Gialli Fan at Dark Dreams. As befits Sandy’s nickname, this will be a giallo special, beginning with a discussion of the genre, followed by reviews/discussions of three films.
We would like listeners to submit their three favourite gialli in order of preference, so if you’d like to participate, please add a reply to this topic. The plan would be to read out as many of these lists on air as possible.