By Roberto Curti
The "Gothic" variety used to be a key pattern in Italian cinema of the Nineteen Fifties and Nineteen Sixties as a result of its strange, frequently strikingly unique method of the horror style. those movies portrayed Gothic staples in a classy and idiosyncratic manner, and took a bold method of the supernatural and to eroticism, with the presence of menacing but seductive woman witches, vampires and ghosts. due to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The terrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), in addition the long-lasting presence of actress Barbara Steele, Italian Gothic horror went in another country and reached cult prestige. The ebook examines the Italian Gothic horror of the interval, with an abundance of formerly unpublished construction info drawn from reputable papers and unique scripts. Entries comprise an entire solid and group checklist, domestic video releases, plot precis and the author's research. Excerpts from interviews with filmmakers, scriptwriters and actors are integrated. The foreword is through movie director and scriptwriter Ernesto Gastaldi.
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Additional resources for Italian Gothic Horror Films, 1957-1969
However, while performing the procedure with the help of his assistant (and lover) Monique, Levin falls in love with Jeanette. As the treatment proves to be only temporary, Levin determines to save Jeanette’s beauty at all costs. Since the doctor gets the serum from young women’s glands, he needs to kill for her sake. To do so, Levin injects himself with another serum, which turns him into a ferocious monster, and goes on a killing spree to get the glands he needs. However, Jeanette’s exboyfriend Pierre starts looking for her, and leads the police onto Levin’s tracks… Released in Italy a mere eight days after Black Sunday, Anton Giulio Majano’s Atom Age Vampire looks as if it belonged to a different decade, in the sense that it is closer to I Vampiri in its expunging of supernatural elements in favor of pseudo-scientiﬁc ones.
Strock); the script calls for a pseudo-scientiﬁc explanation for Levin’s experiments and references to Hiroshima, including a scene where Alberto Lupo shows the inspector (Ivo Garrani) pictures of horribly disﬁgured survivors,2 while the plot twist that has Levin’s murders attributed to a gorilla escaped from the zoo is a throwaway nod to Edgar Allan Poe’s story “The Murders in the Rue Morgue”; ﬁnally, the doctor is given an Igor-like mute assistant named Sasha, whose sole purpose in the movie is seemingly to provide the good doctor with a ﬁnal comeuppance.
However, especially in the sequence when Totò is hired as a cemetery caretaker in the wonderful Totò cerca casa (1949, Mario Monicelli, Steno), one could detect a patent diffidence toward Gothic paraphernalia, accompanied by a healthy, detached irony which was typical of Italian cinema’s approach to all genres. 2 Rascel (1912–1991) was an extremely popular vaudeville, ﬁlm and radio actor, dancer and singer/songwriter who gained international fame in 1957 through his own song Arrivederci Roma (which inspired the ﬁlm The Seven Hills of Rome, starring Rascel and Mario Lanza).