Director Sergio Sollima sets the template for twenty years of violent action cinema for Rough Tough Charles Bronson. Precise stunt scenes and clever direction are at the service of a script that can’t produce a convincing line of dialogue. It’s a mishmosh of sex, bullets and car chases. Bronson is betrayed by his love for Jill Ireland, and Telly Savalas is shoehorned in as a (surprise!) nasty gangster. Much of it does play like gangbusters — the opening and closing especially — and the dynamic title instrumental is one of maestro Ennio Morricone’s best.
Violent City
Blu-ray
Kl Studio Classics
1970 / Color / 2:35 widescreen / 109 + 96 min. / Città violenta, The Family, Final Shot / Street Date May 17, 2022 / available through Kino Lorber / 29.95
Starring: Charles Bronson, Jill Ireland, Michel Constantin, Telly Savalas, Umberto Orsini.
Cinematography: Aldo Tonti
Production Design: Francesco Bronzi
Art Director: Franco Fumigalli
Film Editor: Nino Baragli
Stunts: Rémy Julienne, Goffredo Unger
Original...
Violent City
Blu-ray
Kl Studio Classics
1970 / Color / 2:35 widescreen / 109 + 96 min. / Città violenta, The Family, Final Shot / Street Date May 17, 2022 / available through Kino Lorber / 29.95
Starring: Charles Bronson, Jill Ireland, Michel Constantin, Telly Savalas, Umberto Orsini.
Cinematography: Aldo Tonti
Production Design: Francesco Bronzi
Art Director: Franco Fumigalli
Film Editor: Nino Baragli
Stunts: Rémy Julienne, Goffredo Unger
Original...
- 7/5/2022
- by Glenn Erickson
- Trailers from Hell
By Tim Greaves
The name Sergio Martino will strike a chord with anyone who has even a passing interest in Italian exploitation pictures of the 70s and 80s. Once seen, who can forget The Great Alligator or The Island of Fishmen – both of which are favourites of this writer in their showcasing of Barbara Bach at her most radiant – or premium Suzy Kendall giallo Torso, or for that matter once ‘video nasty’ and Ursula Andress headliner The Mountain of the Cannibal God? Marking Martino’s second giallo, The Case of the Scorpion’s Tail (o.t. La coda della scorpione), was released in 1971, sandwiched between a couple of his most highly regarded titles, The Strange Vice of Mrs Wardh and All the Colours of the Dark. Scorpion’s Tail isn’t quite on a par with either of those, but it’s still a respectable entry in the sub-genre.
When...
The name Sergio Martino will strike a chord with anyone who has even a passing interest in Italian exploitation pictures of the 70s and 80s. Once seen, who can forget The Great Alligator or The Island of Fishmen – both of which are favourites of this writer in their showcasing of Barbara Bach at her most radiant – or premium Suzy Kendall giallo Torso, or for that matter once ‘video nasty’ and Ursula Andress headliner The Mountain of the Cannibal God? Marking Martino’s second giallo, The Case of the Scorpion’s Tail (o.t. La coda della scorpione), was released in 1971, sandwiched between a couple of his most highly regarded titles, The Strange Vice of Mrs Wardh and All the Colours of the Dark. Scorpion’s Tail isn’t quite on a par with either of those, but it’s still a respectable entry in the sub-genre.
When...
- 8/7/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Part of our series on Forgotten Gialli
"...for the secrets of the analyst's couch are as those of the confessional, only more interesting." —John Collier.
Love and Death in the Garden of the Gods (Amore e morte nel giardino degli dei, 1972) is a lovely test case for how far the giallo could stray from its sources of inspiration and still be true to itself.
Those sources: the original pulp yellowbacks that featured Agatha Christie and Edgar Wallace novels, writers who favored elaborate, formalist plot mechanics over plausibility or psychology; Edgar Allan Poe and his hysterical, irrational nightmare narratives; Hitchcock and film noir, the marriage of vivid, obtrusive technique to suspense and crime scenarios; the German krimi, which adapted Wallace with noir stylistics; the Italian art cinema and the celebration of aesthetic statements that overflow any narrative requirement.
"I didn't want to kill her... but I didn't want her animal eyes on me any more.
"...for the secrets of the analyst's couch are as those of the confessional, only more interesting." —John Collier.
Love and Death in the Garden of the Gods (Amore e morte nel giardino degli dei, 1972) is a lovely test case for how far the giallo could stray from its sources of inspiration and still be true to itself.
Those sources: the original pulp yellowbacks that featured Agatha Christie and Edgar Wallace novels, writers who favored elaborate, formalist plot mechanics over plausibility or psychology; Edgar Allan Poe and his hysterical, irrational nightmare narratives; Hitchcock and film noir, the marriage of vivid, obtrusive technique to suspense and crime scenarios; the German krimi, which adapted Wallace with noir stylistics; the Italian art cinema and the celebration of aesthetic statements that overflow any narrative requirement.
"I didn't want to kill her... but I didn't want her animal eyes on me any more.
- 9/26/2012
- MUBI
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