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Posts Tagged ‘Claudio Simonetti’

The Ogre/The Church

Thursday, October 24th, 2024

This DVD I rented is labelled DEMONS III: THE OGRE, but I knew that wasn’t really a thing. That’s just how video labels chose to promote THE OGRE, a 1989 TV movie that Lamberto Bava went off to do after giving up on a third DEMONS.

THE OGRE opens in Portland, Oregon, where a little girl wakes up and wanders into a dungeon/wine cellar and finds a bizarre, pulsating cocoon on the ceiling. It’s like a giant spider egg sac except it glows yellow, drips fluid and beats like a heart. She sees a spindly monster inside, and it reaches a hand out for her, then chases her. Eventually she wakes up. Yes, it was only a dream, but she dropped her teddy bear in the dream, and now it’s gone. (read the rest of this shit…)

Demons

Monday, October 21st, 2024

Lamberto Bava’s DEMONS is from 1985 and it’s a thoroughly 1985 movie in a very good way. It has a catalog of tough punk type side characters, a very danceable electronic score by Goblin keyboardist Claudio Simonetti, and somewhat random rock soundtrack including “White Wedding” by Billy Idol and “Walking On The Edge” by Rick Springfield. It has lots of atmosphere and stylized imagery with colored lighting that makes the frame look like a blue or yellow screen printing, and a handful of scenes just starkly showing a strip of flashy businesses around the mysterious Metropol movie theater where it takes place. Gothic horror downtown.

When it opens on the subway, Simonetti’s theme song is grooving so hard – the drum and keyboard sounds he’s using seem old school hip hop influenced – you’re pretty sure this is gonna be a classic. And I think your instincts are correct. Cheryl (Natasha Hovey) is, I believe, a music student in Berlin headed to a lecture, clutching her Bartok book nervously as she eyes the cool punk hairstyles around her on the train. Lady, they don’t even know you exist. Get over yourself. Then she starts glimpsing reflections, almost like a hallucination, of some kind of cyborg man (second unit director Michele Soavi) with a half metal face? I don’t know, maybe it’s an updated Phantom of the Opera mask. He turns out to be real and approaches her at the station… she actually runs from him but is relieved when he turns out to be just a guy giving out passes to a movie screening. (read the rest of this shit…)

Opera

Thursday, December 12th, 2019

Don’t get mad, but until now I’d never seen Dario Argento’s OPERA. It comes after a run of his best and/or most famous movies: DEEP RED, SUSPIRIA, INFERNO, TENEBRE and PHENOMENA, and I can finally confirm that it belongs in that company. Though it doesn’t reach the feverish intensity of his very best, it’s cool to see Argento get access to a higher level of production value. This takes place mostly in a real opera house with a full opera production, orchestra, behind-the-scenes crew and audience, and cinematographer Ronnie Taylor (Academy Award winner for GANDHI!) takes Argento’s fanciful camerawork up a couple levels.

The ambition is clear in the opening scene, when obnoxious (and unseen to us) opera diva Mara Cecova throws a fit at Marco (Ian Charleson, CHARIOTS OF FIRE, GANDHI), visionary director of the Julie-Taymor/HIGHLANDER-II-ish stylized production of Verdi’s Macbeth she’s starring in, and storms out. The camera seems to represent her point-of-view, with everyone looking at her as she has her tirade, but if so then I guess she floats off the stage into the crowd and then walks out backwards? It’s confusing… and totally impressive and captivating. (read the rest of this shit…)

Mother of Tears

Thursday, October 31st, 2013

tn_motheroftearsMOTHER OF TEARS was Dario Argento’s backburner project for years. I never really watched them close enough together to pick up on it, but SUSPIRIA and INFERNO were supposed to be about sister witches, and he always meant to make one about the third sister. Unfortunately he didn’t get it made until 2007, long after he stopped being a reliable filmatist, so most people were not impressed.

Argento’s daughter Asia (xXx) plays Sarah Mandy, an assistant at some museum who is there when her boss unseals and accidentally bleeds on (you know how it is) an ancient artifact, summoning witches who horribly murder the boss. This is a creepy scene because of the way Sarah just sort of glimpses a feeding frenzy from outside of the room, and because she gets pursued through the empty museum by an evil monkey that tries to keep up with her and keeps hissing to notify the others of her location. (read the rest of this shit…)