Camera-Obscura
Joined Oct 2005
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Reviews194
Camera-Obscura's rating
A somewhat over-plotted spy thriller by the French master of suspense Henri-Georges Clouzot, that features spies from different countries converging on a psychiatric clinic, run by doctor Malik (Gerard Sety), who is offered a substantial sum of money to shelter a new patient that happens to be an atomic scientist. Soon, the hospital beds are filled with international spies all desperate after the information the patient holds.
Just about everything in this espionage tale is open to question, with its wildly imaginative insinuations of nuclear devices, Amerian and Soviet secret agents and crackpot taxi drivers, doctors and patients. This film certainly has its moments, but is a little uneven and anyone familiar with Clouzot's work, knows this one is not strictly for laughs. It's all meticulously scripted, but is just a taut long (137 minutes) and soon becomes such an impenetrable puzzle, it's hard to keep track of the proceedings, but the film benefits from a good international cast, including Peter Ustinov (SPARTACUS, TOPKAPI, DEATH ON THE NILE), Curd Jürgens (THE SPY WHO LOVED ME, THE LONGEST DAY), Sam Jaffe (BEN HUR) and Vera Clouzot (LES DIABOLIQUES).
Not without interest, but ultimately, the elements just don't glue together that well, with rather unsatisfactory results.
Camera Obscura --- 6/10
Just about everything in this espionage tale is open to question, with its wildly imaginative insinuations of nuclear devices, Amerian and Soviet secret agents and crackpot taxi drivers, doctors and patients. This film certainly has its moments, but is a little uneven and anyone familiar with Clouzot's work, knows this one is not strictly for laughs. It's all meticulously scripted, but is just a taut long (137 minutes) and soon becomes such an impenetrable puzzle, it's hard to keep track of the proceedings, but the film benefits from a good international cast, including Peter Ustinov (SPARTACUS, TOPKAPI, DEATH ON THE NILE), Curd Jürgens (THE SPY WHO LOVED ME, THE LONGEST DAY), Sam Jaffe (BEN HUR) and Vera Clouzot (LES DIABOLIQUES).
Not without interest, but ultimately, the elements just don't glue together that well, with rather unsatisfactory results.
Camera Obscura --- 6/10
THE THIRD EYE (Mino Guerrini - Italy 1965).
This interesting little chiller by Mino Guerrini, starring Franco Nero and Erika Blanc, certainly was much better than I expected. Often categorized as an early Giallo, it's actually more of a mix of Gothic horror and some Giallo elements. Definitely not the six-penny quickie, I expected. It's quite an elaborate production, well-shot, with fine acting and cinematography.
Franco Nero is Mino, a young count who lives with his dominant mother and jealous servant Martha in an isolated mansion in the Italian countryside. Like Anthony Perkins in PSYCHO - with which this film shares quite a few parallels - Mino has a fascination with birds, particularly stuffed birds. A few days before his marriage with the young and beautiful Laura (Erika Blanc), she mysteriously dies in a car crash and soon-after, his mother is killed. Mino begins to lose his sanity and starts luring young women into his mansion in order to kill them, together with his willing accomplice Martha, who secretly loves him, but one day, a young woman visits him who looks just like his late fiancée Laura.
Although the "Count gone mad scenario" was already a bit over-used by the time the film was made, the (then) contemporary setting, the murder mystery angle, elegant production design, professional cinematography and more than adequate direction, make this one well worth a look and definitely a cut above the average attempt within European genre-film-making, to say the least. The film is also surprisingly candid in its sexual nature (although complete nudity is absent) and, regarding that aspect, is a typical exponent of the transitional period in the mid-sixties. Fans of Franco Nero might wanna take a look at him in a role as a neat, well-dressed and impeccably coiffured young man, quite the contrast to the sweaty, unshaven Django-look, or generally sleazy look, he would cultivate later in his career.
The film was remade as BURIED ALIVE (1978), the gore classic by Joe D'Amato.
Currently only available in German, but with the DVD-age already coming to a close, it's unlikely that this film will ever see an English-language release, so the German-only version is perhaps something even English speaking fans of obscure Italian cinema should consider.
Camera Obscura --- 7/10
This interesting little chiller by Mino Guerrini, starring Franco Nero and Erika Blanc, certainly was much better than I expected. Often categorized as an early Giallo, it's actually more of a mix of Gothic horror and some Giallo elements. Definitely not the six-penny quickie, I expected. It's quite an elaborate production, well-shot, with fine acting and cinematography.
Franco Nero is Mino, a young count who lives with his dominant mother and jealous servant Martha in an isolated mansion in the Italian countryside. Like Anthony Perkins in PSYCHO - with which this film shares quite a few parallels - Mino has a fascination with birds, particularly stuffed birds. A few days before his marriage with the young and beautiful Laura (Erika Blanc), she mysteriously dies in a car crash and soon-after, his mother is killed. Mino begins to lose his sanity and starts luring young women into his mansion in order to kill them, together with his willing accomplice Martha, who secretly loves him, but one day, a young woman visits him who looks just like his late fiancée Laura.
Although the "Count gone mad scenario" was already a bit over-used by the time the film was made, the (then) contemporary setting, the murder mystery angle, elegant production design, professional cinematography and more than adequate direction, make this one well worth a look and definitely a cut above the average attempt within European genre-film-making, to say the least. The film is also surprisingly candid in its sexual nature (although complete nudity is absent) and, regarding that aspect, is a typical exponent of the transitional period in the mid-sixties. Fans of Franco Nero might wanna take a look at him in a role as a neat, well-dressed and impeccably coiffured young man, quite the contrast to the sweaty, unshaven Django-look, or generally sleazy look, he would cultivate later in his career.
The film was remade as BURIED ALIVE (1978), the gore classic by Joe D'Amato.
Currently only available in German, but with the DVD-age already coming to a close, it's unlikely that this film will ever see an English-language release, so the German-only version is perhaps something even English speaking fans of obscure Italian cinema should consider.
Camera Obscura --- 7/10
THE LAST ROUND (Stelvio Massi - Italy 1976).
This moderately entertaining crime thriller by Stelvio Massi is pretty much a violent updating of YOYIMBO (1962) or A FISTFUL OF DOLLARS (1964). Star of the show is former middle-weight boxing champion Carlos Monzón, a drifter who arrives in town looking for a job, but doesn't seem entirely serious about his future and starts looking for trouble immediately. Within ten minutes, he wipes the floor with a whole gang of motley henchmen at the gates of some factory where he wanted to apply for a job. Apparently, they don't like Southerners (he just arrived from Sicily) and turned him down (at the gates, the old days). This scene provides the viewer with some social commentary as well, stating it's not good when people are turned down because they look a bit scruffy or come from the South. Some other workers claim the union should put a stop to this and that it's not right banging up poor workers for no reason. Damn right they are. Turns out the owner of the factory in question is Gino Manzetti (Luc Merenda), who also happens to be the head of a murderous crime ring and a pretty good shot as well, we learn later on the film. Now, Carlos Monzón starts working for him, but plays out every bad guy in town in the process, or something.
Carlos Monzón is not the greatest of actors, to put it mildly. He is clearly there for his ... well, physique, or his fighting skills, or probably both, but he got what it takes to kick some serious ass, but after a while he kind of bored me. Director Stelvio Massi knows how to stage some effective slow-motion fight scenes. Problem is, the story is not very original and after 50 minutes or so, the film kind of lost my attention. It's attractively shot and starts out well, but the story loses much of its momentum halfway when the promising plot is dropped almost completely, with the second half of the film consisting of an endless array of nightly shootouts, fight scenes and lots of skulking in the dark between the various parties involved. Practically the entire second half of the film is devoted to a seemingly endless showdown between all kinds of rival factions whose interests were completely beyond my grasp. But, perhaps that's just me.
One thing I will remember about this charade is the score. No Shame's release came with a separate CD containing some seriously groovy tracks, that I've been playing in my car for the last week. Pretty funky. We also get an extensive 37 minute interview with Luc Merenda by some boot-licking Italian guy, which consists of an extensive tour of his Paris-based antique shop and a mere 5 minutes or so about his films.
Camera Obscura --- 6/10
This moderately entertaining crime thriller by Stelvio Massi is pretty much a violent updating of YOYIMBO (1962) or A FISTFUL OF DOLLARS (1964). Star of the show is former middle-weight boxing champion Carlos Monzón, a drifter who arrives in town looking for a job, but doesn't seem entirely serious about his future and starts looking for trouble immediately. Within ten minutes, he wipes the floor with a whole gang of motley henchmen at the gates of some factory where he wanted to apply for a job. Apparently, they don't like Southerners (he just arrived from Sicily) and turned him down (at the gates, the old days). This scene provides the viewer with some social commentary as well, stating it's not good when people are turned down because they look a bit scruffy or come from the South. Some other workers claim the union should put a stop to this and that it's not right banging up poor workers for no reason. Damn right they are. Turns out the owner of the factory in question is Gino Manzetti (Luc Merenda), who also happens to be the head of a murderous crime ring and a pretty good shot as well, we learn later on the film. Now, Carlos Monzón starts working for him, but plays out every bad guy in town in the process, or something.
Carlos Monzón is not the greatest of actors, to put it mildly. He is clearly there for his ... well, physique, or his fighting skills, or probably both, but he got what it takes to kick some serious ass, but after a while he kind of bored me. Director Stelvio Massi knows how to stage some effective slow-motion fight scenes. Problem is, the story is not very original and after 50 minutes or so, the film kind of lost my attention. It's attractively shot and starts out well, but the story loses much of its momentum halfway when the promising plot is dropped almost completely, with the second half of the film consisting of an endless array of nightly shootouts, fight scenes and lots of skulking in the dark between the various parties involved. Practically the entire second half of the film is devoted to a seemingly endless showdown between all kinds of rival factions whose interests were completely beyond my grasp. But, perhaps that's just me.
One thing I will remember about this charade is the score. No Shame's release came with a separate CD containing some seriously groovy tracks, that I've been playing in my car for the last week. Pretty funky. We also get an extensive 37 minute interview with Luc Merenda by some boot-licking Italian guy, which consists of an extensive tour of his Paris-based antique shop and a mere 5 minutes or so about his films.
Camera Obscura --- 6/10