La casa de las ventanas malditas

After 35 years of anonymity, I want to state that I was asked by the director, Pupi Avati, and his brother Antonio to model for the painting. It took place one May day outside of Rome, and I was paid 35,000 lire (about $50) to have them photograph me for eventual conversion into a painting. I show up at the seven-second mark at the beginning of the film, and I know it's me, not only because I have two slides from the shoot, but because the scars on my knees were faithfully recreated by the (uncredited) artist.

I have been attempting to get listed in the credits here on IMDb and would appreciate any advice as to how I can move from an anonymous role to seeing my name in the cast list. It's not much...though it would go a long way to realizing my dream of being in the movies.

Pupi Avati's 'The House With Laughing Windows' follows the character of Stefano, a painter who travels to a remote Italian village on a job to restore an unfinished painting depicting the persecution of St. Sebastian (who was a real Saint, by the way, only he was actually killed by arrows being shot into him, not by being stabbed with knives like the painting in the movie portrays). Upon arriving in the village, Stefano discovers that there is a lot more behind the mystery of the painting than he originally thought, and that someone will stop at nothing to make sure that Stefano does not complete the painting, further revealing the true mystery behind the town's bizarre secrets.

The movie opens with graphic, sepia toned imagery of a man being tortured in the exact same way as St. Sebastian is depicted in the painting. The genuinely creepy piano music that plays during the opening just further sets the unsettling mood for the mystery that lies ahead. The opening credits lead one to believe that the film is an all out blood bath, however, this is not the case. In fact, the most violently unsettling part of the film is the opening, that's not to say that the rest of the film doesn't contain violence, it just doesn't exist on the same level or extreme as the opening.

The rest of the film is a rather competent mystery done in true giallo fashion, and will keep you wondering what's going to happen next until the climactic finale. There are a few story elements in this movie that were either unexplained or not elaborated on, but I don't know if going as far as to call these incidents 'plot holes' would be completely correct. For instance, there is a girl Stefano is seeing at the beginning who just leaves town (disappears?) without a word. This had me thinking the whole movie that she was murdered and that her body would turn up at some point, when in fact you find out later in the film that she just simply left town, and was replaced by Stefano's next love interest, Francesca.

The movie is pretty tame in comparison to many giallo flicks like 'Tenebrae' or 'The New York Ripper', but the twists and turns should interest most fans of this sub-genre. Also, unlike most giallos, the film contains only a brief bit of nudity, but there is a scene where a woman is being forcefully molested that seems more exploitative than most scenes depicting nudity.

All in all I must say I was surprised at the quality of movie I saw. Not only was it a surprise that I haven't heard of this movie sooner, but it was also amongst some of the better plot driven giallo films I have personally seen. This movie was well paced, consisted of great camera-work and scenery, had great acting (to a non-speaker of Italian, anyway), and had a truly creepy and original plot. I recommend this film to anyone that is really into the Italian giallo sub-genre, as it may not hold the interest of the casual horror movie fan.

"The House With Laughing Windows" is a very European film. Unlike the gialli of, say, Argento, this film is not 'Americanized' at all. It reminds me more of films like "Don't Torture a Duckling" in that it takes place out in a small town in the Italian countryside. It adds to the ambiance and I really like that.

The plot is very slow-moving. I'm not even sure if I'd call this film a giallo, but reading other reviews on here, it seems that it is in fact classified as such. It was hard for me to watch this for the first hour or so. I was wondering when it was going to pick up. Not many people get killed. But, I stuck with it and I recommend doing so. If you can stick with it, the ending is freakin' awesome. I was shocked by it; it really delivers. And it gets nice and bloody too. I had no idea who the killer was, and by the time I found out, my head was spinning from the progression of the final few scenes. It ends abruptly and it feels great. It more than made up for the sluggishness of the first 2/3 of the film. It's not unlike many of the newer Asian films in that regard: it moves very slow but the last few minutes are like a twisting train wreck.

In short, I recommend this film to those of you who have patience and enjoy Italian horror.

8 out of 10, kids.

'No nudity and very little gore, and consequently, no suspense'. Quite apart from not knowing how commas work, the previous reviewer also appears to have been off sick from Idiot Film School the day they covered 'Suspense'.

This is a curiosity, sure, and won't be to everyone's taste, but I wouldn't dismiss it as a potboiler because it doesn't reach the dizzy artistic heights of Nightmare on Elm Street IV. The film effectively builds up a sense of dread through the central character's isolation and growing unease in a bleak village surrounded by featureless salt marshes. The supporting cast are thoroughly creepy from the garrulous dwarf mayor through to the pale beauty who mysteriously hooks up with the hero but who seems to know more than she is letting on. There are some touches of unsettling imagery that evoke David Lynch; the snails in the fridge, the blood red car and motorcycle and the house of the laughing windows itself. The camera-work adds to the whole, peering from darkened rooms and from behind creaking shutters - there is rarely a moment when you feel the hero is safe.

Sharing some of the mood of Don't Look Now (as indicated by Barry Norman below), the film also bears comparison with The Wicker Man, dealing with the same theme of an innocent slowly discovering the horrifying secrets of a community consumed by evil.

The film is not a categorical giallo as it is often suggested as being, but rather it's more of a entry into the Gothic horror canon, with a incredibly strong sense of mystery that keeps the viewer intrigued even when the pacing becomes sluggish. The film is not exploitative (as most giallo films are) but mature, intelligent, and effective. Indeed, there is no nudity and little violence is present as the picture's primary focus is its complex, labyrinthine mystery that truly surprises the viewer with its unexpected turns of the plot. The film is also heavy on atmosphere, artfully directed by the award-winning Pupi Avati (of "The Story of Boys and Girls" and "Incantato" fame), which really intensifies the mystery, making it not only it spellbinding by also horrific and terrifying at times(especially near the end). The debits I perceive is that the narrative is a tad drawn out and some of the characters aren't as developed as one would hope, but the mystery is so good that it's easily to look past all these minor quibbles. Highly recommended to those who liked slow-burning Gothic mysteries such as "Don't look Now".