Notturno con grida (1981)

Ten years ago, rich guy Christian (Franco Molè) disappeared from his home under very mysterious circumstances. Everyone else in the household suffering some sort of physical damage as well as memory loss, so nobody knows what happened to him or if he is indeed still alive. The household members got the opportunity for a lot of bitter lawsuits out of it, so there was a silver lining to the affair.

The day after the film takes place will be the day when Christian can finally be declared dead, and his family commemorates the day that’ll leave his widow Eileen (Martine Brochard) stinking rich by a séance to clear up what happened to Christian, mirroring the night just before whatever happened to him took place. Brigitte (Mara Maryl), the wife of Christian’s brother Paul (house favourite Luciano Pigozzi aka Alan Collins), repeats her role as a medium she also had ten years ago. The séance is dramatic but rather inconclusive, Christian breaking off speaking through Brigitte exactly at the moment when he’s going to name the killer. Oh well.

So, everyone make their way to an excursion into the woods where they plan to build some bungalows. In the party are Eileen, Brigitte (who is either the dumbest woman alive or very good at pretending, something the other characters seem to ponder a lot, often loudly and in her presence), Paul (a former priest with some proper former priest secrets), the surveyor Sheena (Gioia Scola) and Eileen’s bodyguard and fiancée Gerard (Gerardo Amato). Of course, there are a bunch of secrets and lies between these characters, which come out sooner or later: for example, Paul once “took advantage” (as the film has it) of Eileen in the confessional when she was just fifteen, also talking her into marrying his brother in the hopes she would murder Christian and split the money with him; Gerard plans to murder Eileen once they are married for a while and take up with Sheena; Brigitte may or may not have been raped or have had an affair with Christian, and so on, and so forth. Really, it’s your typical rich family in a giallo.

As if all of these secrets, lies, and dubious moral backbones weren’t enough to motivate a bloodbath, the group is also beset by curious phenomena: a seemingly invisible early bird owl attacks, visions are had, memories relived, and so on. Eventually, their car disappears and the group can’t find their way out of the woods anymore, running in circles even if they clearly aren’t. And then there’s the invisible force that attacks them…

Ernesto Gastaldi was one of the more important writers of Italian genre movies during the 60s and 70s, writing giallos, peplums, Gothic horror films, or whatever else the market wanted. He only had a handful of stints in the director’s chair, though, this being one of them, the directing duties here shared with Vittorio Salerno, who isn’t as omnipresent or interesting as Gastaldi was.

As it stands, Notturno con grida is nearly a lost film, with a pretty drenched looking VHS source and fan made subtitles – which I am very thankful for – the best version of the film available right now, which is a bit of a shame, really, though not exactly surprising. After all, the film was clearly shot on the very cheap, even for the Italian movie industry of the early 80s, with only a handful of actors, a cheap “living room of the rich” set for the séance as well as the handful of flashbacks, a patch of woods and basically no special effects you can’t produce by moving your camera suggestively standing in for production values.

All of which to me suggests the kind of project someone working in the movie business could make on the side beside paying projects, asking some acquaintances (or in the case of Mara Maryl, his wife) to help out. So a bit of a labour of love. To me, at least, it truly feels like a labour of love, too, like a very experienced filmmaker using some of the ideas he couldn’t quite sell anyone with money on. There are some stand-bys from typical Gastaldi scripts on screen, of course. Especially the group of nasty but very fun rich people that make up the cast are a dime a dozen in his scripts as well as many another giallos, though they would more typically bump each other off than encounter the supernatural that’ll punish them for their sins as happens here. However, the dialogue for these dicks and dickettes in other movies doesn’t usually show off Gastaldi’s classical education as well these here do. Particularly our former priest is full of quotations and philosophical musings quite befitting a film that is beholden to the conventions of traditional tales of the supernatural. Something that, needless to say, is bound to endear a film to me.

But I also simply enjoy how much Gastaldi and Salerno make out of the little they’ve got here, getting fun and interesting performances out of their actors, and creating an effective eerie mood out of basically nothing – and mostly in daylight to boot. There’s just such a fine sense of the strange running through the film as a whole that it’s an easy recommendation for anyone who likes Italian genre cinema of Gastaldi’s period, or simply appreciates a good tale of people getting lost in the woods, pursued by something worse than a bear.

In short: Libido (1965)

As a child, Christian (Giancarlo Giannini) witnessed his father killing a woman in his special mirrored sex room. Some time later, his father supposedly killed himself jumping off a cliff into the sea, as if there wasn't already enough psychological damage done to the boy. Since then, Christian has been fragile, taken from one psychiatrist to the next by his foster father and executor of his father's will Paul (Luciano "Allan Collins" Pigozzi).

Now Christian is nearly 25, married to a woman named Helene/Eilene (Dominique Boschero), and in a few months time, he will inherit his father's sizable fortune; at least, if he is of sound mind at that point. Christian, Helene, Paul and Paul's vacuous sexpot wife Brigitte (Mara Maryl) are driving out to the house of Christian's father - the place where he killed the woman, and killed himself - to take inventory of some of the estate.

Christian is soon plagued by curious phenomena that suggest that either his father to be still alive, Christian to be losing his mind in a rather spectacular manner, or someone to be trying to drive him insane to get at his money.

Ziggy Freud has a lot to answer for. Despite his psychoanalytical theories often having less to do with actual human psychology and more with Freud's own psychological fixations, the man was highly influential on all kinds of artists and all types of art even at a point when it was pretty clear how much of his theoretical apparatus was untenable. The Italian giallo did particularly like to take a bit of old Sigmund's tales in, seeing as they make a perfect pretext for an at least pseudo-intellectual mix of sex and violence, and also - perhaps just as importantly - lend themselves wonderfully to stylish visualizations, so I'm not necessarily blaming filmmakers for it.

Ernesto Gastaldi's and Vittorio Salerno's early black and white giallo Libido is as freudsploitation-y as a film can be (just look at the title!), beginning with a quote of the big man and then throwing as many elements of Freudian theory into its plot as possible. The film's first half hour or so is also a cornucopia of Freudian imagery, with more phallic and vaginal symbolism than you can shake a stick at (wait a minute…). It's the kind of film where just thinking a cigar (and why isn't there one?) might actually be a cigar would be absurd.

Once the film has acquainted the audience with the large mansion it will predominantly take place in, it calms down a bit with the loaded imagery, or maybe I was just so used to it at that point I just didn't see quite as much of it anymore. At that point, the film's other influences come to the fore: the post-Psycho psychological thriller, and Les Diaboliques, and if one is familiar with these films, the film's general gist and particular plot twists won't be much of a surprise. The film plays quite fair with the audience too, which is a fine way to avoid being annoying, but does not help against a certain obviousness.

That doesn't mean Libido isn't worth watching. While it tends to symbolic overload and suffers from a too melodramatic ending, the film is visually attractive, well paced and well acted. For me, it's a particular delight to see Luciano Pigozzi in a larger role than usual.

Technorati-Markierungen: italian movies,in short,giallo,ernesto gastaldi,vittorio salerno,giancarlo giannini,luciano pigozzi,dominique boschero,mara maryl