Troy Howarth - So Deadly, So Perverse: Giallo-Style Films From Around the World, Vol. 3

SO DEADLY SO PERVERSE:

GIALLO-STYLE FILMS FROM AROUND THE WORLD

VOLUME THREE

Spanish pressbook forNight of the Skull; art by Jano (Francisco Fernndez Zarza)

SO DEADLY, SO PERVERSE:

GIALLO -STYLE FILMS FROM AROUND THE WORLD

VOLUME THREE

By Troy Howarth

Midnight Marquee Press, Inc.
Baltimore, Maryland, USA

Copyright 2019 Troy Howarth

Cover Design: Timothy Paxton

Interior layout: Gary J. Svehla

Copy Editor: Janet Atkinson

Midnight Marquee Press, Inc., Gary J. Svehla and A. Susan Svehla do not assume any responsibility for the accuracy, completeness, topicality or quality of the information in this book. All views expressed or material contained within are the sole responsibility of the author.

Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the copyright owner or the publishers of the book.

ISBN 9781644300572

Library of Congress Catalog Card Number 2019942499

Manufactured in the United States of America

First Printing June 2019

Dedication

For my father, Gary Howarth, with gratitude.

Italian poster for Maniac Mansion (1972)

TABLE OF CONTENTS

Foreword by
Dante Tomaselli

Acknowledgements

This book would not have been possible without the kind participation of a number of individuals. Chief among these, I need to extend my heartiest thanks to Roberto Curti. Roberto's expertise on Italian cinema is second-to-none and his insight into the giallo and its global influence was a major source of inspiration for me in the research and writing of this book.

Being that this volume took me outside of my comfort zone and into geographical areas that I had never explored before, I am also very much indebted to the kindness and expertise of Pete Tombs and Jared Auner of Mondo Macabro films. Pete and Jared were vital in uncovering some of the more obscure titles covered in this book. I can say with honesty that, prior to doing the research work for this volume, I had never experienced cinema from such exotic (to a small-town Pennsylvanian such as me!) locales as Turkey and Egypt. Pete and Jared helped to light the way for me, and I am very grateful for their efforts.

My good friends Tim Paxton and Steve Fenton once again lent me their invaluable expertise, as they have on so many of my projects. Steve's tireless work enabled me to secure images from a good majority of the films under discussion, while Tim's tasteful design sensibility was once more put to valuable use in the cover designas a writer, I can't help but be biased in my belief that one should never judge a book by its cover, but let's face it, a stylish cover catches the eye and helps to sell copies. Tim's work is, as ever, most deeply appreciated.

A number of other people were of great help, either by hooking me up with copies of rare films or by offering valuable feedback and insight. I sincerely hope I have not forgotten to mention anybody, but these are some names that leap to mind: Rodney Barnett, David Beckham, John Bender, Gav Ellinger, Brian Horrowitz, Darren Johnson, Jon Kitley, Derek M. Koch, Michael Mackenzie, Henrik Mller, Jonathan Rigby, Steven Ronquillo, Brian Rosin, Casey Scott, Steven Smith, Marcus Alexander Stiglegger, Syd Strange, Mark Thompson Ashworth and Chris Workman.

Independent filmmaker and all-around nice guy Dante Tomaselli leapt at my offer to contribute a foreword for this volume, for which he has my heartfelt thanks. Dante's films are some of the most visually imaginative in the modern horror genre and that, coupled with his family connection to one of the key titles reviewed in this volume, made him a no-brainer. I am forever grateful to him for his positive energy.

I am also very grateful to locandina guru Peter Jilmstad, who provided a number of excellent images for this book. Fans like Peter help to make the sometimes-tricky world of fandom a better placehe truly has his heart in the right place, and I can't thank him enough for his generosity.

I am very fortunate to have some people in the real world who are a source of constant support and enthusiasm in my endeavors. My parents Diane and Gary Howarth have always accepted my love of the strange and the macabre, even if it sometimes marked me out as a little different; I mean, honestly, how many little boys know that Mae Clark played the female lead in Frankenstein (1931)? Sadly, my mother passed away at the much-too-young age of 68 in December of 2015, at which time I was taking a break from writing this project; it's been hard to get back into the swing of things, but in a sense I can still feel her cheering me on. My good friends Jared and Jacquie Burnworth are also good enough to put up with my obsessive ramblings, for which they have my thanks.

I also want to give a special shout-out to my friend Bryan Martinez, whose love of the giallo is at least equal to my ownhis outstanding show The Giallo Room comes highly recommended, and I truly appreciate his words of encouragement and support during some of my darker periods.

And of course, as usual, I must extend special thanks to Gary and Susan Svelha of Midnight Marquee Press. Gary and Susan have been tireless supporters of my work since I joined the Mid Mar Family in 2013; I hope we continue to work together for many years to come.

Foreword

by Dante Tomaselli

Note: Dante Tomaselli is the cousin of director Alfred Sole, whose film Alice Sweet Alice is reviewed herein. In addition to being one of the most imaginative stylists at work in the modern, independent horror film scene, Dante is also a devoted fan of the giallo and of the Italian horror film at large. He has my thanks for taking a moment out of his busy schedule to discuss his feelings on the giallo.

Being Italian American, I feel a kinship with giallo films. I was in my 20s when I discovered Italian horror. The late Chas. Balun, with his Deep Red magazine, introduced me to the word giallo, and soon these black-hearted, visually dazzling concoctions poisoned me psychedelic, subversive, outrageously brutal. Where were these hauntingly sinister films hiding? It was like another world poking through. Untamed, mood-drenched titles like Blood and Black Lace, The House with Laughing Windows and A Lizard in a Woman's Skin winked at me. Back in the '90s, it was a perfect time to unearth such blasphemous gems, as I was just embarking on my own filmmaking journey. I recognized that most American productions were formulaic, straightforward and bland. I rebelled. My fever dream sensibility was more in line with the Italians, though I never realized it before. Here were well-made films born on shoestring budgets that looked like paintings, beautifully designed macabre poems that refused to play by the rules.

Dante Tomaselli
June 28, 2015