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So Deadly, So Perverse: 50 Years of Italian Giallo Films, by Troy Howarth
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Beginning with the release of Mario Bava's THE GIRL WHO KNEW TOO MUCH in 1963, Italian filmmakers developed and perfected their own peculiar brand of mystery-thriller known as the giallo. Named after the yellow (giallo in Italian) covers of the murder mysteries published by Mondadori, the giallo is awash in fetishistic imagery. For many fans, these films—popularized in the works by writer-director Dario Argento, whose name is synonymous with the genre, thanks to such films as THE BIRD WITH THE CRYSTAL PLUMAGE and DEEP RED—focus on stylized images of violent death: killers dressed in black stalking glamorous-looking victims through baroque architecture, literally painting the walls red with their blood. This is only one aspect of the giallo, however. With their groovy soundtracks by legendary composers like Ennio Morricone and Stelvio Cipriani and glamorous damsels-in-distress like Edwige Fenech, Rosalba Neri and Asia Argento, these films offer a heady mixture of sex, horror and suspense; at their best, they took excess to a hypnotic level. Troy Howarth, the author of THE HAUNTED WORLD OF MARIO BAVA and the co-author of the up-coming THE TOME OF TERROR series, examines the genre from its inception through its inevitable decline. Covering everything from popular fan favorites by the likes of Mario Bava, Lucio Fulci and Dario Argento to lesser-known gems by Cesare Canevari, Massimo Dallamano and Paolo Cavara as well as the worst of the worst by the least inspired of hacks, SO DEADLY, SO PERVERSE provides an in-depth examination of a genre that has too often been marginalized in other studies of the horror film and the thriller. In addition to reviews of every giallo made between 1963 and 2013, this two-part study of the giallo—with volume two (covering 1974 onwards) coming later in the year—is also lavishly illustrated with rare and colorful stills and poster art.
- Sales Rank: #524674 in Books
- Published on: 2015-01-30
- Original language: English
- Dimensions: 11.00" h x .55" w x 8.50" l,
- Binding: Paperback
- 234 pages
Most helpful customer reviews
17 of 17 people found the following review helpful.
Excellent Guide To An Underrated Genre
By William Amazzini
Well, Euro fans, it's finally here. Mr. Howarth has given us Volume 1 of an excellent guide to the Italian Giallo covering the genre from its beginning in 1963 to the height of its glory in 1973. Each film is grouped together by year with full credits, a brief synopsis before the films review , information on the DVD-Blu-Ray releases of each film and important anecdotes on major actors and technicians for each title. The book is also generously illustrated with rare photos and color blowups of the movie posters and fotobustas of each film. What enhances the book is the user friendly manner in which the book is presented by giving people who are not familiar with the genre an in depth look of each title. I was amazed at how many films I have still not viewed, some of which have not seen the light of day since their release dates. The book begins with a nice intro by Giallo screenwriter Ernesto Gastaldi on what constitutes a Gialo film, an excellent chapter by writer Roberto Curti (who is releasing a book on the Italian Gothic Horror Film this summer) on the Giallo from the pages of the paperback novellas to the screen, and a chapter of Giallo prototypes and some films which resemble the genre such as the German Krimi's and some which did not quite make the grade. The book is a revelation for fans and scholars alike and is highly recommended. I can't wait for volume two which will cover the years 1974 thru 2013 and will make this collection a wonderful Encyclopedia of one of the most underrated of Euro Genres. This seems to be the year for the Euro Horror Film finally getting its due with releases of these two volumes, Mr. Curti's book mentioned above and also his take on the Italian superhero genre and Mr. Stephen Thrower's book on the cinema of Director Jess Franco coming in May. Who would of thought? Bravo, Mr. Howarth, on a job well done.
11 of 12 people found the following review helpful.
The book giallo fans have been crying out for
By M. R. Mackenzie
The first of two tomes charting the giallo film from its inception to the present day, Volume 1 of Troy Howarth's SO DEADLY, SO PERVERSE: 50 YEARS OF ITALIAN GIALLO FILMS is the sort of book fans of the giallo have been crying out for. Its spiritual predecessor is arguably Adrian Luther Smith's excellent (if now surpassed) BLOOD AND BLACK LACE, and indeed structurally it owes a clear debt to that earlier book, but Howarth goes considerably further and into far more detail than that pioneering work.
Covering the first 20 years of the giallo film's lifespan, 1963 to 1973, Volume 1 begins with the expected introductions (provided by veteran giallo screenwriter Ernesto Gastaldi) and attempts to define that most ambiguous of genres, before launching into an examination of early prototypical gialli, films with giallo elements but which don't quite make the grade as "true" gialli, and the literary gialli from which the filmic movement derives its name but to which it bears only a passing resemblance. This latter chapter, written by film historian Roberto Curti, is particularly insightful and breaks genuinely new ground. It provides the book with a unique selling point, charting an aspect of the giallo's development that hasn't been adequately explored elsewhere, since English-speaking authors lack the context necessary to unpick it.
The "meat and potatoes" of the book, however, is the 190 pages' worth of film reviews, cataloguing and appraising every known giallo to have been produced between 1963 and 1973. This section is truly exhaustive, digging up a number of titles I'd personally never even heard of, and even one or two that are now believed to be lost to the ages. For each review, the structure is the same: Howarth provides the main cast and crew credits, a brief (spoiler-free) synopsis and a more detailed review, concluding with a discussion of the careers of some of the more significant players on both sides of the camera. The reviews are insightful, in-depth and well-observed. Howarth isn't afraid to make it clear when a particular film isn't up to scratch (and says one or two scathing things about some of the, shall we say, less outstanding actors and directors associated with the movement), but he's also fair, pointing out the individual moments of pleasure that can be found in even the schlockiest and most ineptly made of giallo (and, let's be honest, there are quite a few which fit that category). The films of "big beasts" like Argento, Fulci, Bava and Martino understandably get the lion's share of the praise, but little-known gems also get their moment in the spotlight, including the likes of Fernando Di Leo's NAKED VIOLENCE and Damiano Damiani's A RATHER COMPLICATED GIRL.
It's worth pointing out that Howarth omits certain titles that some readers might expect to be included since he doesn't consider them to be part of the movement. This is unavoidable, since "giallo" is a vague term and much disagreement exists as to its precise parameters. Personally, I would have included Aldo Lado's SHORT NIGHT OF THE GLASS DOLLS (omitted here) and left out the likes of the western/giallo hybrid RINGO, IT'S MASSACRE TIME, but such is the beauty of a movement that, like film noir, is easier to recognise than to define (the "I know it when I see it" principle).
Any flaws are minor and don't impact substantially on the overwhelmingly positive qualities of the book; however, I feel that they should be acknowledged for completeness' sake. These are largely structural, stemming from the decision to separate the films by year of release and order them alphabetically within each year. This results in some slightly odd moments in that individual reviews often "refer forward" to another film that was actually released before the one currently being discussed -- for instance, we read about Sergio Martino's second giallo, THE CASE OF THE SCORPION'S TAIL, before his first, THE STRANGE VICE OF MRS. WARDH (both 1971), which is slightly confusing given the extent to which the latter set the template for Martino's subsequent gialli. That's perhaps the downside of attempting to read a reference tome like this from cover to cover. However, the lack of any page references in the index of titles at the end, and the fact that production dates aren't provided in the reviews themselves (the year is listed only once, at the start of each "section"), makes it difficult to dip in and out.
But these are minor organisational quibbles. In his foreword, Howarth acknowledges that he didn't set out to write the be-all-and-end-all book about the giallo, and while it doesn't replace the likes of Mikel Koven's excellent LA DOLCE MORTE (which addresses a different audience and serves a different purpose), SO DEADLY, SO PERVERSE feels entirely at home among such lofty company. Experienced giallo aficionados and those new to the genre alike will want to pick this up without delay, and get their pre-orders in for Volume 2, which promises to explore the rather more sporadic output of the last 40 years.
10 of 10 people found the following review helpful.
So Deadly, So Perverse, So Buy It!
By Brad Hogue
Troy Howarth's So Deadly, So Perverse is a great addition to the world of giallo cinema writing. I've seen a slew of giallo films and I can definitely say that the book is very useful and informative for the seasoned veteran and beginner alike. Mr. Howarth spends some time going over the origins of the genre before jumping into thoughtful reviews. He gives some background into the major players of each film and perhaps even more importantly does not spoil the films. That bears repeating: He does NOT spoil the films. I've actually been burned by some books spoiling who the killer is. No need to worry here. Haven't seen The Black Belly Of The Tarantula? Fear not and read on in confidence that Mr. Howarth will not reveal the identity of the killer. Lots of photos, great spoiler free reviews, and a love of the genre come through in this book. I look forward to volume 2. Highly recommended.
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