Italian cinema of the past and present
Several cast members from The Sweet Body of Deborah were reunited a few years later for The Case of the Scorpion’s Tail, an above average giallo which boasts groovy London locations (again demonstrating that Euro-filmmakers were far better at using English settings than native ones) and a script that is so convoluted that you could stuff it in your chest cavity and use it to digest food.
Despite featuring many of the same people both in front of and behind the cameras (cinematographer Stelvio Massi, scriptwriter Tito Carpi, actors Barberito, Sini & Southwood), They Call Me Hallelujah represents a considerable evolutionary step from the previous Carnimeo / Hilton production, A Fistful of Lead.
It’s fair to say that there’s not a great deal of plot in Morning Star, which isn’t necessarily a bad thing. Instead its a traditional quest story which is stripped down to the bare minimum and then given a supernatural slant.
Although The Strange Vice of Mrs. Wardh might be trash of the highest order, but it’s all put together with a degree of high quality professionalism that gives it a distinct veneer of class and raises it’s status to being one of the very best of Italian gialli.
aka Vende la pistola y comprate la tumba (Es), Django arrive, préparez vos cerceuils (Fr), Django und Sabata – wie blutige Geier (WG), A Fistful […]
A truly memorable Spaghetti Western, A Bullet for Sandoval is unquestionably one of the top ten examples of its type. It exhibits a singularly mean spirited atmosphere as well as an unusual plot that incorporates the ‘revenge for a slaughtered family’ theme in an engrossing and unusual way.
Although it’s not of the same level of the jump that, say, Johannes Roberts made between Forest of the Damned (2005) and F (2010), Judy (2014) still marks a considerable improvement over both Emanuele De Santi’s previous film Adam Chaplin (2011) and the other productions previously put together by the Necrostorm production company
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