Footprints on the Moon

I consider this a missed opportunity. I have very fond memories of the filmmaker's debut, an interesting psychosexual oddity called La Donna Del Lago, and watching this I'm inclined to think that earlier film worked so well because the giallo had not been mapped down yet; so he was free to travel where it was novel at the time. Polanski got there that same year, but he was already a name and had Deneuve with him and so made the bigger splash. Film history has noted Repulsion.

This could have been even better. He has brought ambitious imagination with him, a visual palette of bright golden hues and relaxing blues, a sense of place and folded mysterious time with memory from Marienbad. He has Vittorio Storaro's eye behind the lens.

The opening is more than promising. A woman wakes up with no memory of three days past. She has just seen a dream, a feverish vision of astronauts staggering on blasted moonscapes, which she remembers is from a movie called the same as the one we're watching; but a movie she left without watching the ending. She goes to Italy to investigate, in an effort to bring these images into focus.

There it falls apart, in Italy incidentally. In the ten years since that first film that was in some ways a giallo ancestor the genre had come and was already on its way out. Between these two films Bazzoni had worked where it was the trend in the Italian industry, making a western and another giallo called The Fifth Chord. So when the more ambitious material for this came together, there were already footsteps he was expected to walk and had been trained to. The circumstances of a commercial movie industry were just so.

So for the middle part of the film we get a giallo worked from convention. The convoluted plot where each character withholds crucial information until the time is right, and the protagonist has to cobble together a puzzle from clues and red herrings. Much ado.

It comes full circle in the finale; the agents which she has imagined to be controlling her illusion return to pull her back into the fiction of the dream. It happens with extraordinary images of a stretch of empty cosmic beachside.

Bazzoni never made another film after this. In the meantime, Polanski had rocketed into Hollywood orbit and was already on his way out. I reckon that Bazzoni was one of our sad losses, but alas he never made it to France where money didn't always expect to fill a double-bill.

A slow-moving film which retains a certain cult ; it seems it's all in a dream ,or a nightmare more like ; few special effects,no gore, but a great sense of mystery,with an open ending which will make all viewers interpreting the meaning of this bewildering story according to their own sensitivity .

With its deja vu feeling, its bizarre characters (Lila Kedrova) , its strange experiments on the moon , one can wonder whether the heroine is losing her mind, or is it a recurrent nightmare ? Its atmosphere sometimes recall "carnival of souls" ,probably the first important indie in the history of cinema .The beauty of Florinda Bolkan and the threatening face of Klaus Kinski add to the fascinating and deadly charm of this offbeat work.

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.

Footprints is a very interesting movie that is somewhat difficult to categorize. "Psychological thriller" is the most appropriate description I can think of. The female protagonist, Alice Cespi, discovers that she doesn't remember anything of the last three days. The only clue she has is a torn photo of a hotel. She is also haunted by a recurring, very vivid, dream about a science fiction movie that she believes she saw many years ago. In her pursuit of the truth behind her amnesia she doesn't trust anyone, but little by little it becomes obvious that she has visited the town where the hotel is located before. This is an exciting flick whose main virtue is that it is virtually impossible to predict how the events will unfold, and particularly, how it will end. The unusual loneliness of the main character and the unreliability of everyone else ensure that the good old paranoid feeling is present throughout the film, whereas beautiful colors and some spectacularly filmed sequences make this a visually attractive movie as well. The important part of the one and only Nicoletta Elmi, everyone's all time favorite redheaded obnoxious child star of Italian horror, is an extra bonus.