Blue Nude

Blue Nude, directed by Luigi Scattini, is a hidden gem that showcases the artistic tension and versatility of its composer, Piero Umiliani, aka "The Maestro." With a rating of 5/10, this 1978 film offers a unique auditory experience, a musically rich tapestry that blends jazz, funk, and country in unexpected but captivating ways.

The film, rarely seen due to its limited release and the bankruptcy of the production company, is an obscure and mysterious piece of cinema. The story is set in the gritty backstreets of New York, and the music reflects this urban landscape, creating a soundscape that is both atmospheric and tense.

Umiliani's score is the true star of this film. The jazz-infused soundtrack, with its unexpected genre digressions, keeps the audience engaged and surprised. The two standout cues, "Blue Nude" and "Life Goes On," feature the smooth and soulful vocals of New York-born, Rome-based singer Charles William Cannon. These musical moments are the highlight of the film, showcasing the unique "contamination," as Umiliani might call it, of styles and the tension he so often sought in his work.

The film itself is a mixed bag. With a limited release and a short theatrical run, it's no wonder that it has flown under the radar for so long. The plot is somewhat incohesive, and the story struggles to find its footing, mirroring the jazz-funk fusion in a somewhat chaotic way. The film's pacing is uneven, with some scenes dragging and others feeling rushed. It's as if the film can't quite decide what it wants to be, much like the antithetical genres Umiliani merges so skillfully.

However, for fans of film scores and unique cinematic experiences, Blue Nude is worth seeking out. The music elevates the film, and the rare nature of this cinematic treat adds to its allure. It's a shame that the film's release was hampered by circumstances beyond its control, as it undoubtedly would have found a cult following with a wider release.

In conclusion, Blue Nude is an aural delight and a testament to Umiliani's skill as a composer. While the film itself has its flaws and may not be for everyone, the score is a masterpiece that deserves to be heard and celebrated. So, for those seeking a unique, auditory cinematic journey, Blue Nude is worth uncovering.

Let the smooth, gritty jazz and the mysterious allure of this forgotten film serenade you. Just don't expect a cohesive narrative to go with your auditory feast.

This is really one heck of a film! It contains all the sleaziness of a 42nd Street production, with the grace and style of the classic Italian exploitation film. So, I guess the resultant product is something that might called a "crossover" film. The story concerns a young gigolo who is trying to make his way in the Big Apple. While there, he works as a male stripper, a dog walker, and several other wacky occupations. Eventually, he is caught in the allure of the 42nd Street porn scene. Real-life porn actors Carter Stevens, Susan McBain, Wade Nichols, R. Bolla, Al Levitsky, and others, all have decent rolls in this film. In fact, Susan McBain (who appears billed as Susan Elliot) gets a very sizeable role as the main character's girlfriend. What makes this film so great is the fantastic amount of footage taken in and around the seediest areas of the city. (Scattini must have had a bodyguard in order to go into these areas with his crew). Anyway, the film shows a mastery and style that is seldom seen in similar productions of this period. BLUE NUDE also features Giacomo Rossi Stuart as a smug, malicious blackmailer. As well, Piero Umiliani contributes another one of his soundtracks--although this one is not so memorable as his other scores. I could go on for paragraphs saying how much I loved this film, but will leave it to the viewer to see for himself!

Low key and very downbeat 70s drama set in the more sleazy bits of the city at that time. Some interesting location shooting and very decent central performance from Gerado Amato but, I guess, it is the more salacious sequences that have given this film the reputation (however modest) that it has and in this respect it seems that actors more used to the hardcore sex scene have been recruited here. Consequently, the support actors and in particular the ladies don't add as much to the telling of this tale as they do to the sex scenes themselves. Worth seeing, however, for a different view of the scene but be warned this is no merry outing. Gritty.

Luigi Scattini ended his career with this surprisingly incisive take on that hoary old story: the bushy-tailed newcomer trying to make it big in the Big Apple. Covering similar territory to John Schlesinger's trail-blazing MIDNIGHT COWBOY, he crafted one of his better films.

Picture would have reached a wider audience had it been blessed with major studio production values and a higher-profile cast, but it does make up for that in grittiness and a realism provided by tapping recognizable Gotham porn talent of the day for key acting assignments.

Closely resembling the young Michele Placido (who unfortunately wasn't cast), Gerardo Amato as Rocco is convincing in the central Joe Dalessadro role. He's been kicking around New York for a year, hoping to make it in movies, with a completed screenplay he penned just waiting to be bought.

To make ends meet he works as a dog-walker (getting sack time with an attractive and enthusiastic MILF client) and as a male stripper in a ratty club. His break seems to come when he's hired to act in a film, but it turns out to be XXX sludge directed by Carter Stevens, co-starring Susan McBain and Wade Nichols. The behind-the-scenes action, including the necessity for a fluffer between takes, is well developed and the action is strictly shot softcore.

McBain becomes his girl friend, and it is pleasant to see her in an acting role, this being her only non-Adult movie. We also see him with folks and family from the old country. Scattini plays up the Italo-American angle, with Rocco hoping to become the next Stallone (ROCKY is plugged endlessly) or Pacino, as success stories of Scorsese and others are name dropped throughout. Much of this "wannabe" aspect of the movie I took to be a Freudian Slip on the part of director Scattini, whose closest step towards the big time was being funded by 20th Century Fox to direct an unsuccessful Canadian co-production featuring Pam Grier which never was released in America.

Controversial scene, which is crucial to the plot, has Rocco seduced by his upstairs neighbor, a cute young girl who turns out to be only 15 (and definitely looks underage). She has a topless shot, and this would be considered afoul of bans on kiddie porn by current standards. In a rather unconvincing twist, her daddy and corrupt cop Giacomo Rossi-Stuart team up to blackmail Rocco, demanding $2,000 or dad will press charges. (Rossi-Stuart also served as Scattin's assistant director).

When his relatives turn their back on his plight, McBain comes up with the money to get Rocco off the hook, but Rossi-Stuart beats him up anyway in a gratuitous scene. Covering all bases, Scattini has Rocco forced to make another porn film, and this time star Roger Caine chokes a girl to death, making it an accidental snuff movie (which was a hot topic at the time).

The director Barry realizes he has a hot commodity on his hands, and gets Rocco to join the cover-up of the murder by promising to make a film from his script. "Life Goes On" is the out-ballad sung-over as we hear Rocco's typewriter clacking as he writes another screenplay and imagines himself shooting Stuart and the girl's daddy.

The porn actors do a fine job playing roles close to the bone, and R. Bolla shows up as a prospective agent for Rocco who puts homosexual moves on him in a porn theater lavatory.

The film was obviously aimed at a wider, American audience, with numerous ballads sung in English, but it was never released in the U.S. I'm surprised it didn't get the usual '70s treatment of having hardcore segments inserted in post-production, which would have been relatively easy to do given the subject matter and presence of many prolific XXX performers to match.