BLOODY PIT OF HORROR

Mickey Hargitay

BLOODY PIT OF HORROR (1965). Director: Max Hunter [Massimo Pupillo].

A group of photographers and models think an old castle will be the perfect place to have a photo shoot for the covers of Italian horror novels. But they are unaware that Travis Anderson (Mickey Hargitay), the current resident and a former actor and muscleman, has gone insane and thinks he is the medieval Crimson Executioner, a former resident, who was executed and entombed in the castle. Edith (Luisa Barrato) was once engaged to Travis, so he lets the group stay -- and become his victims. Some of these wind up in his torture chamber, where there is a descending canopy outfitted with spikes, or in a death trap maze with a big robot spider with poisoned fangs and a web. This is hardly a great movie, but there are some zesty, colorful sequences. Hargitay was married to Jayne Mansfield and is the father of Mariska Hargitay of Law and Order: SVU.

Verdict: There have been worse. **1/2.

KISS THE GIRLS AND MAKE THEM DIE

KISS THE GIRLS AND MAKE THEM DIE (1966). Director: Henry Levin.

A CIA operative known only as Kelly (Mike Connors) is in Rio tracking down the activities of a man named Ardonian (Raf Vallone), who has many girlfriends -- and kills any of them who dare to take on other lovers. But this ultimate Male Chauvinist Pig has another nefarious plan in mind. Working with the Red Chinese, Ardonian has developed a formula which will remove the sex drive from all human beings, eventually wiping out the U.S. population in a generation or so without bloodshed. [Ardonian doesn't seem to reckon with the ingenuity of human beings.] With the help of Susan, a British spy (Dorothy Provine), and her gifted chauffeur (Terry-Thomas), Kelly sets out to stop Ardonian and his allies. With attractive Brazil locations and some exciting scenes, and good performances from the leads (especially Vallone, who strikes just the right note), Kiss the Girls is basically good-natured but a little bit too silly for its own good. Poor Provine is clothed in one hideous fashion "creation" after another. But the movie is fun for the most part.

Verdict: One of the better James Bond imitations if not without its flaws. **1/2.

GREAT WHITE (1981)

GREAT WHITE (aka The Last Shark and L'ultimo squalo/1981). Director: Enzo G. Castellari.

When a surfer disappears in the waters off a small coastal town, authorities fear a great white shark may be dining in the area. Naturally -- as this is another rip-off of Jaws -- Mayor Wells (Joshua Sinclair) doesn't want to cancel the big regatta that's coming up, so supposedly shark-proof netting is placed in the water to protect swimmers and others. Unfortunately -- or else there would be no movie -- the 35-foot-long shark is easily able to munch his way into the enclosure. James Franciscus stars as Peter Benton, who is determined to wipe out the fish after it chops off his teenage daughter's leg. Vic Morrow is cast as a shark hunter who proves no match for the great white. The best scene has the big shark squaring off with a helicopter and easily winning. The shark is given its own catchy rock theme, and there's some effectively sinister music at other times, as well as some attractive wide-screen photography. Gruesome in spots.

Verdict: Another fair-to-middling fish story. **1/2.

WEREWOLF IN A GIRLS' DORMITORY aka LYCANTHROPUS

WEREWOLF IN A GIRLS' DORMITORY (aka Lycanthropus/1961). 

Director: Richard Benson [Paolo Heusch.] A new teacher, Julian Olcott (Carl Schell), arrives at a girls' school/reformatory with lots of secrets and shenanigans and is immediately embroiled in the mystery of who is stalking and killing some of the students. It turns out that a werewolf is responsible, but the question is which of the male staff might be the lycanthrope. Suspects include the handsome director Swift (Curt Lowens), the middle-aged married lech Sir Alfred (Maurice Marsac), a demented handyman, and others. The movie is atmospheric and generally well-acted, and the werewolf has a scary make up job. Maureen O'Connor is spooky as staffer Lenor MacDonald. This is an Italian horror film with a great new American title, which got it a lot of attention and interest when it was released. On its own terms, it's not a bad little picture. 

Verdict: A sexier wolfman than usual. ***.

BLOOD AND BLACK LACE

BLOOD AND BLACK LACE (1964). Director: Mario Bava. [NOTE: End credit says that the English version was produced, written and directed by Lou Moss. The Italian title is Sei donne per l'assassino.]

An especially brutal murderer is slaying the beautiful models of the Christiane Fashion House in Rome. The establishment is owned by Contessa Como (Eva Bartok), a widow who is keeping company with one Max Morlan (Cameron Mitchell). Inspector Silvester (Thomas Reiner) locks up all the male suspects but the murders continue. This entertaining, well-made and suspenseful film was highly influential on the many Italian horror thrillers by Dario Argento and others that came afterward (while it itself was influenced by Hitchcock's Psycho, especially in regard to a intense focus on and depiction of murder.) There are illogical moments -- why does one frightened woman drag a corpse into her house and even leave the door wide open? -- and a disregard for forensics, but the movie works on a visceral level and is generally well-acted. Bartok and Mary Arden as model/victim Peggy come off best. Thomas Reiner is the Great Stone Face as the cop assigned to the case. Not badly dubbed (Paul Frees did some of the dubbing, apparently for more than one character.) Credit may have been given to someone else for supposedly directing this "English" version, but any way you slice it the film is pure Bava. Carlo Rustichelli's score is a plus, both the eerie incidental music and the lazy, sensual jazz theme that opens the movie and plays on occasion throughout. Some of the atmospherically-lit sequences were considered quite sadistic in their day and still pack a punch. Bava also directed Twitch of the Death Nerve [AKA Bay of Blood].

Verdict: A creepy treat for those who love multiple murders in movies. ***.

IL GRIDO

IL GRIDO/THE OUTCRY (1957). Directed by Michael Antonioni.

A dubbed but reasonably effective Steve Cochran plays Luigi, a worker in a small Italian city who wants to marry his lover Irma (Alida Valli) upon finding out that her husband has died, but discovers that she's fallen in love with another man. He takes off to forget her, encountering a number of women he treats even more insensitively than Irma treated him. These include his broken-hearted ex, who has mixed emotions about seeing him; a lady who runs a gas station; and a free spirit who seems borderline batty. Luigi is a stoic man who holds his pain all inside until it comes out in what we are presumably meant to see as an act of inescapable self-violence. No doubt the film is fraught with significance of a sort, but the end result – while it holds the attention – seems to be much ado about nothing. Cochran's performance isn't at all bad, but the film would have been better off with a more sensitive type who could at least register some of the character's inner torment. Some good performances, atmospheric photography, but this lacks the brilliance and emotional resonance of the best of Fellini and De Sica.

Verdict: **1/2.

I VITELLONI

I VITELLONI (1953). Director/writer: Federico Fellini.

This is a charming and engaging slice of life about five friends and their life in a small post-war Italian town. Fausto (Franco Fabrizi) is a rake who has knocked up a young lady, Sandra ([E]Leonora Ruffo), and who wants to flee, but his father forces him to marry her – although he can't keep his hands off other women. Alberto (Alberto Sordi) lives with – and is supported by – his mother and sister but it looks like he'll have to get a job when his sister, who's involved with a married man, leaves home. Leopoldo (Leopoldo Trieste) is a would-be playwright who shows his work to an aging actor who's more interested in cadging a meal – and perhaps sexual favors – from the fellow than he is in mounting his work. Riccardo (Riccardo Fellini) is a tenor, and sensitive Moraldo (Franco Interlenghi) is the brother of Sandra who longs for something that small- town life cannot give him. The movie may not necessarily be “deep,” but there's a lot going on beneath the surface, and it casts a spell if for no other reason than its sheer quality: it is beautifully directed, photographed, acted, and features a lovely score by Nino Rota. Moraldo is a bit of a shadowy figure – today his friendship with the twelve-year-old Guido (Guido Martufi) would raise eyebrows, although in Guido he actually sees himself – but perhaps the saddest character is Leopoldo. He is representative of all the wannabes in small towns who long for art and culture but haven't the talent or wherewithal to make their dreams a reality. All of these young men long for something else, but Moraldo [Fellini himself?] – whose dreams are never expressed – is the only one who actually leaves. There are many striking characters and images in the film, such as the village "idiot" poignantly touching the statue of the angel on the beach, and the middle-aged wife of Fausto's boss, whose sensuality is momentarily awakened by Fausto's touch even as she recoils from it. The actors playing these young men may all seem a few years too old but I think the point is that they are all past the age where they should have long since left home and found themselves.

Verdict: A lovely movie. ****.