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ladamarossa · 8 days

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Who Saw Her Die? (1972)

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moviemosaics · 7 months

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Who Saw Her Die?

directed by Aldo Lado, 1972

#Who Saw Her Die?#Chi L'ha Vista Morire?#Aldo Lado #movie mosaics #George Lazenby #Nicoletta Elmi #Adolfo Celi #Jose Quaglio #Rosemarie Lindt #Peter Chatel #Anita Strindberg

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weirdlookindog · 1 year

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Nicoletta Elmi in Profondo rosso (1975).

#prondo rosso #deep red #nicoletta elmi #1970s movies #dario argento #horror

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clemsfilmdiary · 2 years

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Who Saw Her Die? / Chi l'ha vista morire? (1972, Aldo Lado)

10/31/22

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giallofever2 · 2 years

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ART POSTER

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elliottharrow · 1 year

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The Baroness Arrives. (Monique van Vooren, Udo Kier, Arno Juerging.) Paul Morrissey's "Flesh for Frankenstein" (1973)

"Flesh for Frankenstein" (1973): Dinner with the Baroness (Monique van Vooren)

Baron Frankenstein's "female zombie" (Dalila Di Lazzaro) in her holding tank.

The Baroness (Monique van Vooren) and the Children, Erik (Marco Liofredi) and Monica (Nicoletta Elmi) arriving at the Frankenstein estate.

The Aquarium in the children's room. "Flesh for Frankenstein" was shot in 3D, which accounts for the numerous closeups and tracking shots of of foreground objects.

The baron's son, Erik, has his own guillotine with which he decapitates one of his sister's dolls. "Flesh for Frankenstein" (1973).

A signature in-your-face shot (originally 3D) of the "Inspector Gadget"-like extending shears with which the diabolical Baron Frankenstein (Udo Kier) decapitates a local peasant in "Flesh for Frankenstein."

Sacha (Srdjan Zelenovic) loses his head and Frankenstein gets his "Serbian nose."

The remains of an involuntary organ donor lies on the slab in the Baron's "lavatory."

The Baron's demented laboratory assistant, Otto (Arno Juerging) extends the "seminal vesicles" toward the camera in one of many shots calculated to make maximum use of the 3D effect.

Frankenstein's depraved assitant, Otto (Arno Juerging), working the body hoist.

Arano Juerging committed suicide shortly after filming "Blood for Dracula" and "Flesh for Frankenstein," which were shot back-to-back in Italy. According to Udo Kier, Juerging became hopelessly distraught over the death of his mother and threw himself out a window.

R.I.P, Arno.

#flesh for frankenstein #baroness frankenstein #monique van vooren #udo kier #arno juerging #paul morrissey #dalila di lazzaro #marco liofredi #nicoletta elmi #srdjan zelenovic

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rwpohl · 2 months

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chi l'ha vista morire?, aldo lado 1972

#chi l'ha vista morire?#aldo lado #1972 #anita strindberg #dominique boschero #nicoletta elmi #george lazenby #peter chatel #summertime #don't look now #deep red #paris texas #alice in den städten #material #flyweight #about photography

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ivebeentotheforest · 3 months

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Demons - 1985 - Dir. Lamberto Bava

Japanese B2 Poster

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kevinsreviewcatalogue · 11 months

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Review: Demons (1985)

Demons (Dèmoni) (1985)

Not rated

Score: 3 out of 5

Demons is as simple as it gets. It's directed by Lamberto Bava, son of the '60s/'70s Italian horror master Mario Bava, and its four screenwriters include one of the other icons of that period of Italian horror, Dario Argento. There's not really much more to it than that, except the junior Bava's sense of style elevating what's otherwise a very rote zombie movie plot whose only unique characteristics after the first half-hour are its movie theater setting and the supernatural origin of its zombies. Its first act was building to some interesting ideas, but once the bodies start hitting the floor, all of that is cast aside in favor of the kind of movie you've probably seen at least a dozen of already, without many twists barring a dark ending. What saves it is its stylistic creativity, as Bava goes balls-out with spectacular gore effects, crazy stuntwork, and a hell of a score supplied by the longtime Argento collaborator Claudio Simonetti of the progressive rock band Goblin, all of them coming together to create a distinctly '80s Euro-punk take on the zombie genre. I wouldn't say it holds together as a movie, but as a cinematic experience of the kind that Popcorn Frights supplied last week, it did not disappoint.

We start the film with a mysterious man in a metallic, Phantom-style half-mask wandering the streets of West Berlin handing out tickets to a film screening at a theater called the Metropol. A bunch of people show up, including the university students Cheryl and Kathy, the preppy young men George and Ken, a bickering married couple, a pimp named Tony and his prostitutes, and a blind man and his daughter who acts as his guide. Right away, the film drops a bunch of tantalizing hints as to what the real purpose of this engagement is. The lobby hosts a striking display of a samurai riding a dirt bike, holding a mask that later shows up in the movie that's being screened, a horror flick about a group of young friends who stumble upon the tomb of Nostradamus. A mysterious redheaded young woman in a green-and-white suit (played by Nicoletta Elmi, best known for playing creepy kids in '70s gialli) works as the theater's usher, serving as a creepy presence throughout the first act. And because one of the patrons decided to play around with that samurai's mask before the movie started, she gets possessed and turned into a monstrous zombie, who promptly attacks the other patrons and spreads this demonic possession to them. The moviegoers try to escape the theater, only to find every exit bricked up.

And that's about where the plot of this movie ends. No, really. Not long after the mayhem starts, the film loses interest in the plot and becomes a story about a bunch of thinly-sketched characters fighting for survival against a zombie horde in a movie theater. Cheryl and George are the only ones who get anything even close to resembling an actual arc, and even then, only in the sense that they're the ones who the film pegs early on as the final girl and boy. We never learn what the deal is with the usher, who vanishes into the background before she gets unceremoniously killed like so many other characters. We learn the "how" of the zombies early on, but not the "why", as we never see how it's connected to the movie the characters were watching beyond superficial details. There's a length subplot involving a group of punks who break into the theater (which seemingly lets them enter in ominous fashion) in order to escape the cops, which goes absolutely nowhere and exists only to explain what happens in the last five minutes. The masked man who invited everyone to the theater returns towards the end, but only as a one-note antagonist for the remaining survivors to fight. It's a movie where you can tell a whole bunch of people worked on the script, probably had a whole bunch of conflicting ideas on where to take it, and ultimately decided to not even bother, such that all the setup in the first act, and the hints as to what might really be going on, adds up to nothing. An intriguing mystery is completely squandered in favor of a movie that most of us have already seen many times before.

It's fortunate, then, that the rest of this movie was giving us everything while the script was giving us nothing. Watching this, you can tell right away where Bava's real interest was: zombie mayhem delivered in a very period Italian B-movie style that looked, sounded, and felt so damn good. Bava made great use of the theater setting as a closed circle for a zombie apocalypse, whether it's emphasizing the building's old-fashioned feel (they used the real Metropol theater in West Berlin for establishing shots) to lend a sense that it might have dark secrets lurking within its walls or having the survivors smartly turn the upper balcony into their holdout. The gore effects are gross, disgusting, and put on fine display, a combination of the demonic nature of the zombies from The Evil Dead (including a creepy glowing eye effect) and body horror straight out of a David Cronenberg movie. The human survivors, too, get in some good licks, especially a climatic battle in the theater where that dirt bike and katana out front are put to use. Their dialogue is obviously dubbed into English from Italian, but given everything else happening on screen, you barely even notice. And through it all, the soundtrack rocks on, with both contemporary punk and metal tunes and Claudio Simonetti's score together lending the movie a vibe akin to a music video where the plot doesn't seem to matter nearly as much as the killer images on screen. It's a film that felt like it had at least one foot planted squarely in the '80s counterculture, a zombie bloodbath where nothing happening on screen really matters but you're too busy grooving to a feature-length music video to really care.

The Bottom Line

Demons is a film that's as stylish as it is vacuous. Don't go in expecting an actual plot, characters worth caring about, or much in the way of sense. Do, however, go in expecting a fun thrill ride that never lets up once it gets going.

#demons #1985 #1985 movies #horror #horror movies #supernatural horror #zombie #zombie movies #italian film #lamberto bava #dario argento #nicoletta elmi

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chutzpahhooplah · 4 months

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giallo movies really just had that one little red head child actress they used for everything, huh?

#i know fausta avelli amd nicoletta elmi are different people but they are also literally identical to me

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ronnymerchant · 1 year

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Nicoletta Elmi- NIGHT CHILD (1975)

Miss Elmi has appeared in

.DEATH IN VENICE (1971)

.A BAY OF BLOOD (1971)

.WHO SAW HER DIE? (1972)

.BARON BLOOD (1972)

.FLESH FOR FRANKENSTEIN (1973)

.NIGHT CHILD (1975)

.DEEP RED (1975)

.DEMONS (1975)

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ronmerchant · 19 hours

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Nicoletta Elmi- the NIGHT CHILD (1975)

A dam good movie.

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byneddiedingo · 7 months

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Joe Dallesandro and Dalila Di Lazzaro in Flesh for Frankenstein (Paul Morrissey, 1973)

Cast: Joe Dallesandro, Monique van Vooren, Udo Kier, Arno Jürging, Dalila Di Lazzaro, Srdjan Zelenovic, Nicoletta Elmi, Marco Liofredi, Liù Bosisio. Screenplay: Paul Morrissey. Cinematography: Luigi Kuveiller. Production design: Enrico Job. Film editing: Jed Johnson, Franco Silvi. Music: Claudio Gizzi.

Silly, kinky, campy, bloody, sometimes scary, often very funny, and altogether ridiculous, Flesh for Frankenstein is also known as Andy Warhol's Frankenstein. Warhol's contribution to the film was his name and very little else, except for his association with director Paul Morrissey and star Joe Dallesandro. The idea for the film has been traced back to Roman Polanski, who suggested to Morrissey that he make a Frankenstein movie in 3-D. The backing for the proposal came from producer Carlo Ponti, with the result that the facilities at Cinecittà in Rome and Italian film technicians like cinematographer Luigi Kuveiller, production designer Enrico Job, composer Claudio Gizzi, and special effects artist Carlo Rambaldi became available. The result looks better than it has any right to. It features Udo Kier in one of his first journeys over the top, playing the mad scientist baron, who is trying to breed a new master race. He has his female creature (Dalila Di Lazzaro) and the torso of the male in storage as the film begins, and is searching for a Serbian peasant with the right nose, or as he calls it, nasum -- the baron likes to drop in a little Latin to impress his assistant, Otto (Arno Jürging). He finds it on Sacha (Srdjan Zelenovic, an otherwise unknown actor), who has the misfortune to go with his friend Nicholas (Dallesandro) to a brothel. On their way home afterward, they're waylaid by the baron and Otto; Nicholas is knocked out and Sacha is beheaded. Unfortunately, Sacha wants to be a monk, possibly because, as we see, he's more attracted to Nicholas than to the women in the brothel. So despite having his head sewn to the male creature's torso, he's a failure when the baron tries to breed him with the female. Meanwhile, Nicholas has been hired as a servant by the baroness (Monique van Vooren), who wants him to serve at table but mostly to have sex with her. The baron, who is also her brother, has lost interest in sex some time after the birth of their two children. Nicholas recognizes Sacha when the baron presents his creatures at dinner, so with the help of the children, who have been spying on everything in the castle, he finds his way to the laboratory where everybody in the household eventually winds up in a scene that has more corpses than the last act of Hamlet. Let it be said about Flesh for Frankenstein that it's almost never boring.

#Flesh for Frankenstein #Paul Morrissey #Joe Dallesandro #Dalila Di Lazzaro

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abstractionsinyellow · 2 years

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