If you are using a VPN, and other users of the same VPN are abusing the service, then you'll be automatically banned as well. Freda, for example, in The Terror of Dr.Hichcock (L’orribile segreto del Dr. Hichcock – 1962) and The Spectre (Lo spettro – 1963), introduced a concept of horror spawned not by supernatural beings, but by human evil in a visual frenzy punctuated by necrophilic pulsations and sexual deviancy. Condemned by critics of the time as crude and reactionary, these Italian films featured fast-paced plots and lots of action scenes. At the beginning of the 1960s Italy demonstrated an increasing interest in horror, a genre that had until then enjoyed only marginal popularity, possibly because Italian artistic and literary tradition lacked a figure like Bosch or Edgar Allan Poe. This top 10 list isn't meant as an end-all compilation of the greatest films of Italy but rather as a starting-off point for exploration. You might have the Hola VPN extension installed. A list of 151 films compiled on Letterboxd, including Deep Red (1975), Tenebre (1982), Blood and Black Lace (1964), The Bird with the Crystal Plumage (1970) and Don't Torture a Duckling (1972). This distinguishing feature is clear in the works of the most significant Italian directors of the horror-thriller genre such as Lucio Fulci, Riccardo Freda, Mario Bava and his internationally well-known “grandson” Dario Argento. The ultra-violent Murder Inferno (Il boss – 1972) closes this style in a trilogy dedicated to the “underworld” that has no equal in terms of pace and power in the history of Italian cinema. First, we have the cops and robbers genre, in fashion in the 1970s in the US too, craftily created by the above mentioned Fernando Di Leo and by another gifted director, Steno (Stefano Vanzina). In the 1980s, when the future director of Reservoir Dogs and Pulp Fiction was still working in a video store, he stumbled upon a number of films by the Italian director Fernando Di Leo. Copyright © 2018 Fandango. The two moods we aimed to capture in this countdown: The wilting of ’60s flower power optimism under the harsh light of urban reality and decay; meanwhile the destruction of the musty Hays Code — a musty ruleset that dictated what could be depicted on-screen for decades — suddenly allowing directors to pursue more personal expressions in film, often violent and sexual. The other main genre explored by Italian filmmakers of the time was thriller-horror, especially by the directors Mario Bava and Riccardo Freda. These two films – together with the later Death Wish (1974) by Michael Winner – can be considered the most obvious sources of inspiration for the Italian cops and robbers movies.
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I'm too high on angel dust to come up with a good comment here. It was a sheer stroke of luck that Tarantino discovered Di Leo’s work, which would go a long way to inspiring Tarantino’s own unique, brash and, yes, often times trashy style. There are the horror hallmarks (Alien, Halloween) including international (Suspiria, Deep Red), and box office game changers (Star Wars, Jaws). All rights reserved.
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This phenomenon shouldn’t take anyone by surprise: every film culture has its hidden treasures that only outsiders seem to value. Though the work of filmmakers such as Di Leo was regarded with contempt by the Italian filmgoing audience, his films and others like them were far more popular and readily available in the UK and US. The winning element of this movie was that it craftily crossed Italian “political” cinema (i.e. Generally, actual content wasn’t central and the message of “law and order” had only the purpose of providing a motivation for characters’ actions. All movies considered for this list needed to have a Tomatometer (after 5 reviews) and have been made during the decade, even if it didn’t get a major release until later, e.g. 10 great Italian films of the 1960s As many a film director’s favourite film, Fellini’s grand opus 8½, is set to return to UK cinemas, we round up 10 more masterpieces from what was a golden age for Italian cinema: the 1960s. The so-called B movies of 1960s and 1970s Italian cinema have recently seen a revival, thanks largely to Quentin Tarantino and our culture’s post-modern tendency of digging out all that is old – the trashier the better – and make it new again. Low-budget exploitation (The Last House on the Left, Mad Max), and a few things a willing warped mind can get off on (The Man Who Fell to Earth, The Holy Mountain). In addition, the development of Italian cinema from the 1930s onward happened as a result of an underground cadre of directors and craftsmen who embraced “low practices” in their film-making and so invented the first true Italian genre cinema. The so-called B movies of 1960s and 1970s Italian cinema have recently seen a revival, thanks largely to Quentin Tarantino and our culture’s post-modern tendency of digging out all that is old – the trashier the better – and make it new again. Ciao ciao! Copyright © 2018 Fandango. Leave it to the Italian/Spanish/Mexican cinema to transmute Catholic guilt into sexual fetishism involving naughty nuns, masochism, sadism, whipping and lesbianism. Now, let’s strut them mean streets, let’s do the time warp again, let’s have ourselves a close encounter with 140 essential 70s movies! that of Damiano Damiani) with American action movies like William Friedkin’s The French Connection (1971) and Dirty Harry by Don Siegel.
The great importance and vitality of this so called second rate cinema continues today, as filmmakers throughout the world find inspiration and ongoing relevance in these early B movies. This fiendish female is so pervasive through the ’60s and ’70s to be considered by movie critics as the founding core of a veritable theory of gynophobia. First of all, since these films constitute the main bulk of Italian genre cinema, let’s define them. Now, let’s strut them mean streets, let’s do the time warp again, let’s have ourselves a close encounter with 140 essential 70s movies! As already pointed out, the king of Italian cops and robbers was Fernando Di Leo: his movies were characterized by very peculiar poetic values, yet were also influenced by great writers like Melville and Siegel. Fellini, de Sica, Rossellini, Visconti, Bertolucci, Antonioni -- Italian cinema has its fair share of masters who have influenced moviemaking around the world. All movies considered for this list needed to have a Tomatometer (after 5 reviews) and have been made during the decade, even if it didn’t get a major release until later, e.g. There's not much we can do about this right now; you'll have to turn off your VPN in order to continue using the site. The Italian-American director believes that one of the great paradoxes about B-movies is that they “are freer and more conducive to experimenting and innovating” than A-pictures. In Britain, for example, Hammer Studios horror movies by Terence Fisher and John Gilling, completely overlooked by local critics, have been praised as masterpieces by Martin Scorsese. UPDATED January 29, 2019 with [b]SUPER FLY[/b] The ’70s can be considered the golden age of the Cops and robbers genre in Italy, the way having been paved by the success of The Enforcers (La polizia ringrazia -1972), the only film made by the great Steno under his real name, Stefano Vanzina. Though admittedly owing a lot to British canons of horror, Italian cinema possessed an original fil rouge: the central role of a fiendish female figure, both in the most classic portrayals (witches) and in more fantastically hybrid inventions (the vampire woman). Your IP was not banned by a person; it was banned by a firewall that uses an automated algorithm. Tweet. B movies’ freedom from artistic chains imposed by the great majors, its ability to be more daring in its content, and its typically low budgets which initiated new and inventive technical solutions to filming, can be regarded as sources of inspiration by those directors who were looking – and continue to search – for a fresh perspective on cinema. Most Famous Italian Liquors: Do you Really Know Them All. The Boys who Slaughter (I ragazzi del massacro – 1969) marks his first collaboration with the Italian crime novelist Giorgio Scerbanenco with whom he worked again for the amazing Caliber 9 (Milano calibro 9 – 1972), the prototypical Italian noir movie, brilliantly combining roughness and pessimism in a dark tale of the criminal world.
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