The Case of the Bloody Iris/Perché quelle strane gocce di sangue sul corpo di Jennifer? (Guiliano Carnimeo, 1972)

The eloquence of this striking sequence is found in the mannered interplay between visual extremity, directed expression and studied response.Iris 1Iris 2Iris 3Iris 4Iris 5Iris 6Iris 7Iris 8

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Edwige Fenech, Anita Strindberg & Luigi Pistilli – Il tuo vizio è una stanza chiusa e solo io ne ho la chiave/Your Vice Is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

Vice - Ekberg 2 A seemingly obvious arc from disillusionment to death becomes suitably complicated by a mannered insistence on direction, expression and viewpoint. 

Vice - Ekberg


Edwige Fenech – Il tuo vizio è una stanza chiusa e solo io ne ho la chiave/Your Vice Is a Locked Room and Only I Have the Key (Sergio Martino, 1972)

It starts with David Thomson and what he calls the ‘moons of becoming’, those ‘great faces in the movie dark’.

Vice 1Vice 2


Edwige Fenech – Nude per l’assassino/Strip Nude for Your Killer (Andrea Bianchi, 1975)

As certain film titles belie complexity so too do simple responses become complicated by the succession of image after image. 

Edwige 2Edwige 3Edwige 4


L’iguana dalla lingua di fuoco/Iguana with the Tongue of Fire (Riccardo Freda, 1971)

Iguana

Dublin streets bear witness to badly-executed murders in a style more Herschell Gordon Lewis than Mario Bava or Dario Argento.


Edwige Fenech – The Julie Christie of Giallo?

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Her screen presence (in the simplest sense) thrills me  like the simple presence of certain people present in  my life.