Os Passos

This is actually a very good surreal mystery movie, despite the description that tries to sell it as a Sci-Fi movie. Balkan stars as a woman haunted by mysterious visions and lost memories that she is trying to piece together. She spends the majority of the movie trying to make sense of her visions. Very atmospheric and effective. It is true that Kinski does not appear very much in this film, but the staring actors are very good. There is only an English dubbed version available in the US, and the dubbing leaves something to be desired, but the actors do a very good job. The cinematography, by Academy Award winner Vittorio Storaro is excellent. An earlier Giallo by director Bazzoni, THE FIFTH CORD, is also excellent, and also lensed by Storarro.

This is why I love Italian gialli. Despite the somewhat true but nevertheless very tiresome claims that the Italian filmmakers are just rip-off artists, this one loose genre that only really had its heyday for a few years in the early 70's displays more originality and creativity than mainstream Hollywood films have in the last 20 years. (And some American fanboy directors like Quentin Tarantino have largely made their career by ripping THEM off).This film is not only unlike any other gialli; it's unlike any other movie I've seen. A woman (Florinda Bolkan) is haunted in her dreams by a long ago television show she saw of astronauts being left stranded on the moon. To relax she goes to an eerily deserted seaside resort town where she thinks she's never been , but where everyone seems to remember her visiting the week before. She gets more and more paranoid and confused. Meanwhile strange men in astronaut suits keep appearing. . .

Unlike the typically hysterical-from-the-get-go gialli, this movie gradually creates a sense of paranoia and unease. It mixes dream, reality, memory, and the media (television) to the point where the viewer is left as disoriented as the troubled protagonist. The end is bound to be a little disappointing after the build-up, but it's pretty memorable too.

While most gialli have an overabundance of characters, this movie is largely carried by Bolkan. Fortunately, she is more than up to the task. Bolkan was a Brazilian actress who, like Austrian beauty Marissa Mell, had a career that was often overshadowed by her personal life (and she probably didn't help this with her lesbian affairs and public claims of having been JFK's last lover). Unlike Mell though she was much more than just a pretty face and her talent can readily be seen in movies like this, Fulci's "A Lizard in Women's Skin", and the nunsploitation classic "Flavia, the Heretic". Klaus Kinski and the Ida Galli also put in brief cameos in the movie, and unfortunately so does young Nicoletta Elmi (who was kind of the Dakota Fanning of 70's Italian films--not a terrible actress but one that appeared in so many films you start to look forward to seeing her on the back of a milk carton).

Director Luigi Bazzoni's first giallo "The Fifth Cord" just came out on DVD. Hopefully, this one won't be far behind. Snap it up if you like gialli or if just enjoy unique, well-made movies. Highly Recommended.

Unable to cope with mounting pressures at work and haunted by visions of a lone astronaut abandoned on the surface of the moon, Alice travels to the exotic sea side town of Garma to get away from it all.

She encounters a number of people there who claim to know her from earlier as Nicole, even though she insists this is her first time there. Brazillian born Florinda Bolkan turns in a solid performance as the elusive Portugese translator caught in the grips of a fugue.

A strange but oddly compelling existential mystery about dual identities and self-fulfilling prophecies, Footprints on the moon is more reminiscent of art-house favorites such as Antonioni's L'aventura and Passenger and Resnais' Last Year at Marienbad, than say other Mystery/Thriller Genre fare so popular at the time in Italy.

The story unfolds at a languorous pace and things get redundant after a while, but it does allow Cinematographer extraordinaire Vittorio Storaro to really explore the unique locations and dazzle with his wonderfully dexterous camera-work. He furthers the style he pioneered in The Conformist.

Also, watch out for Klaus Kinski in a small role as a sinister Space Commander on the lookout for guinea pigs to conduct his secret experiments for a shadowy Government agency. Yes, I'm talking about the same movie.

Alice (Florinda Bolkan), a translator living in Italy, discovers that she has a memory loss and can't recall the last couple of days. She starts to follow a trace of memory fragments, which leads her to the small town of Garma. People in the town seem to recognize her and she's beginning to suspect that the re-occurring nightmares of astronauts conducting horrible experiments has something to do with her own amnesia.

The movie is interesting and the plot is good, but it's a bit to slow moving and arty for my taste. The plot takes some nice twists and it's really hard to figure out where it's heading. Florinda Bolkan is good in her role (but even better in "Flavia the Heretic") and it's always nice to see "star" child actor Nocoletta Elmi. Klaus Kinski's role is too small though. This is not a movie for the die-hard gore hound or exploitation addict, but still a very nice hour-and-a-half mystery.

I first heard of this one while searching the 'Net for reviews of another Italian giallo/horror effort, the contemporaneous THE PERFUME OF THE LADY IN BLACK (1974; whose R2 SE DVD from Raro Video, by the way, I recently acquired) – where it's referenced as being in a similar vein but also just as good. Having watched FOOTSTEPS for myself now, I can see where that reviewer was coming from – in that both films deal with the psychological meltdown of their female protagonist. Stylistically, however, this one owes far more to Art-house cinema than anything else – in particular, the work of Alain Resnais and Michelangelo Antonioni (and, specifically, LAST YEAR IN MARIENBAD [1961] and THE PASSENGER [1975] respectively); accordingly, some have accused it of being "deadly boring" – an epithet often attached to such 'pretentious' (read: cerebral) fare!

Anyway, the film involves the quest of a woman (Florinda Bolkan) to determine her movements in the preceding three days – of which she seems to have no recollection. Following a series of cryptic clues, she travels to the 'mythical' land of Garma (nearby locations, then, bear the equally fictitious names of Muda and Rheember) – where she encounters several people (including Lila Kedrova as an aristocratic regular of the resort) who ostensibly recall the heroine staying there during her 'blackout'! Most prominent, though, are a young man (Peter McEnery) and a little girl (Nicoletta Elmi, from Mario Bava's BARON BLOOD [1972]) – the former always seems to happen on the scene at propitious moments, while the latter apparently confuses Bolkan with another woman (sporting long red hair and a mean streak!).

While essentially a mood piece, this is nonetheless a gripping puzzle: inevitably, vague events transpire at a deliberate pace – and where much of the film's power derives from the remarkable central performance (which can be seen as an extension of Bolkan's role in the fine Lucio Fulci giallo A LIZARD IN A WOMAN'S SKIN [1971]). However, there's no denying the contribution of cinematographer Vittorio Storaro (who provides any number of sweeping camera moves and an effective color scheme – adopting orange/red/blue filters to create atmosphere and coming up with a saturated look for the disorientating, bizarre finale) and Nicola Piovani's fitting melancholy score (the composer is best-known nowadays for his Oscar-winning work on Roberto Benigni's Holocaust-themed tragi-comedy LIFE IS BEAUTIFUL [1997]).

With this in mind, it's worth discussing how FOOTSTEPS was presented in the version I watched: well, being apparently hard-to-get in its original form (I can't be sure whether it's uncut here or not, except to say that the film ran for 89 minutes while the IMDb – lists it at 96), this edition is culled from a fairly battered English-language VHS (the dubbing is surprisingly good, given the international cast) with burnt-in Swedish subtitles to boot (besides, the DivX copy froze for a few seconds at a crucial point in the story around the 82-minute mark)! Still, we do get a welcome bonus i.e. a 9-minute 'Highlights From The Soundtrack' in MP3 format.

I realize I haven't yet mentioned the moon mission subplot, to which Klaus Kinski's presence is restricted: incidentally, around this same time, he had a similarly brief but pivotal role in another good arty thriller with sci-fi leanings (and also set in a distinctive location) – namely, LIFESPAN (1974). As I lay watching the film, I couldn't fathom what possible connection this had with the central plot…except that Bolkan mentioned a recurring dream about a movie she had once seen, though not through to the end, called "Footsteps On The Moon" (a somewhat misleading alternate title for the film itself) – amusingly, she at first recalls the picture as being called BLOOD ON THE MOON (which, of course, is a classic 1948 Western noir with Robert Mitchum and directed by Robert Wise!). That said, I took this 'diversion' in stride as merely one more outlandish touch to the film (given also Bolkan's former employment as a translator at a conference discussing Earth's future) – and certainly didn't expect the astronauts to turn up on Garma's beach at the very end to pursue the female lead, where the sand then turns ominously into the moon's surface…!

The film's plot will probably make more sense on a second viewing – though, to be honest, this is best approached as a visual/aural experience and one shouldn't really expect it to deliver a narrative that's in any way clear-cut and easily rationalized! For the record, the only other Bazzoni effort I'd managed to catch prior to this one was the middling straight giallo THE FIFTH CORD (1971), starring Franco Nero (which I had recorded off late-night Italian TV); some time ago, I did get hold of his Spaghetti Western rendition of "Carmen" titled MAN, PRIDE AND VENGEANCE (1968) – also with Nero and Kinski – as a DivX (after I'd already missed a matinée broadcast of it)…but the conversion had somehow proved faulty and, consequently, the disc wouldn't play properly!