Fragments of Fear - A Giallo Podcast

The Sweet Body of Deborah (Guerrieri, 1968) After a five-year absence, Fragments of Fear returns to the Italian thrillers of the 1960s with Romolo Guerrieri’s The Sweet Body of Deborah (1968). Carroll Baker and Jean Sorel star as newlyweds Deborah and Marcel, whose honeymoon in Geneva is disrupted by the apparent suicide of Marcel’s former lover and the accusation that he was responsible for her death, beginning an increasingly elaborate web of suspicion, threats and deception. Also starring Luigi Pistilli, Ida Galli and George Hilton, we examine The Sweet Body of Deborah's place within the developing giallo and its importance to the strand of conspiracy-driven thrillers that emerged before the genre’s boom at the beginning of the 1970s. Looking at Ernesto Gastaldi’s screenplay, we trace its links to Les Diaboliques, Libido and the subsequent cycle of films built around money, marriage, deception and increasingly elaborate double-crosses. Throughout the episode we also explore the film’s treatment of trust, money and eroticism, alongside its jet-set travelogue quality, moving between Geneva and the Riviera, and its playful visual style. As always, we delve into the film’s production history and key players while considering the wider influence of The Sweet Body of Deborah on the giallo that followed.

Crazy Desires of a Murderer (Ratti, 1977) This month, Fragments of Fear delves into the Crazy Desires of a Murderer with Fillipo Walter Ratti’s Gothic whodunit of the same name. Purportedly from 1977, we look at the film’s ambiguous production date and account for some of the so called dated aspects of the film whilst examining how Crazy Desires slots into the gialli of the 1970s with its heady mix of Gothic and erotic elements. As always, we take a look at the film’s cast and crew, taking a moment to shine a light on some of the lesser known figures of the Italian genre cinema.

Deadly Inheritance (Sindoni, 1968) Fragments of Fear returns to the sixties to discuss Vittorio Sindoni’s French styled thriller and prototype giallo, Deadly Inheritance. Throughout the episode we explore the placement of Sindoni’s film in relation to the gialli of the 1960s and beyond whilst looking at other key filmic elements from the significance of its rural setting in provincial France to its characterisation and usage of red herrings. We also take a look at the film’s production history, Sindoni as a director and some of the film’s lesser known cast.

My Dear Killer (1972) Fragment of Fear’s latest episode focuses on Tonino Valerii’s sole entry in the giallo filone, My Dear Killer (1972). Deviating away from the Argento styled gialli of the time whilst retaining some of its hallmarks, we examine this more realistic take on the Italian giallo and assess the film’s effectiveness in terms of its stark thematic ideas and visual style. We also take a look at the central performance of giallo stalwart, George Hilton and his characterisation of protagonist Luca Peretti; looking at how it compares to his typical roles of the period. Focus is also placed on Valerii as a director and his career outside of his sole foray into the giallo as well as our usual discussions around production history, design and contextualisation.

Fashion Crimes (1989) In the latest episode of Fragments of Fear, we return to the eighties once again to dissect Bruno Gaburro’s 1989 giallo, Fashion Crimes. Perhaps most notable for its leading role from Tenebrae alumni, Anthony Franciosa, we take a look at the actor’s career and assess the effectiveness of his character and the draw his casting has on the film. In our exploration of the film, we look at the film’s thematic ideas that tie back to the golden age of the giallo from fragmented memories and nonsensical crimes to innate psychic abilities. We also assess the film’s failings and missed opportunities, offering our thoughts on ways in which plot could potentially be rectified and improved upon. As always, we take a look at the film’s director, production history and place in the evolution of the Italian giallo.

The Double (1971) In the latest episode of Fragments of Fear, we take a moment to mark the tragic passing of Daria Nicolodi; discussing her legacy and contribution to Italian cult cinema before moving on to this month’s discussion of Romolo Guerrieri’s 1971 giallo, The Double. In our examination of this experimental giallo, we explore the film’s literary origins, Guerrieri’s work as a director and the film’s inventive narrative structure whilst also taking a look at its thematic concerns from sexual politics, the crisis of masculinity and post sixties counter culture.

Strip Nude For Your Killer (1975) In celebration of Fragments of Fear’s first anniversary, we eschew our focus on the lesser known gialli in favour of a more well known title requested by you - the listeners! Running away with the vast majority of the vote was Andrea Bianchi’s popular giallo from 1975, Strip Nude For Your Killer, one of the more sordid titles to emerge from the giallo cycle. We examine the film’s sleazy reputation and accusations of misogyny, framing them within the film’s comedic stylings and the Italian cinema of the period. We also take a look at the film’s self aware usage of giallo tropes, effective set pieces and comical characterisation as well as celebrating one of the most iconic actresses of the genre - Edwige Fenech.

Door into Darkness: Part One To celebrate Fragments of Fear’s one year anniversary, we are releasing part 1 of our Door into Darkness episode, a previously Patreon exclusive episode, to celebrate as a way of thanking everyone for their support. In episode one of our two part discussion into Dario Argento’s 1973 television series for RAI, Door into Darkness, we discuss episodes one and two of the series; Luigi Cozzi’s Il vicino di casa (The Neighbour) and Dario Argento’s Il tram (The Tram). As well as looking at Cozzi and Argento’s contributions to the series, we examine Door into Darkness’s cultural impact and how it ushered in a new form of televised thriller, pushing the boundaries of what had previously been seen on Italian television. If you’ve enjoyed our Patreon exclusive content and want to hear part 2 and more, head on over to www.patreon.com/fragmentspod to pledge. Theme music performed by Massimo e Massimo. Hear more at superspectrum.bandcamp.com

Libido (1965) Whilst Mario Bava’s 1960s thrillers, The Girl Who Knew Too Much (1963) and Blood & Black Lace (1964), have become known as the defining giallo texts of the 1960s, the tropes and genre markers of the giallo weren't fully established and popularised until Dario Argento’s debut, The Bird with the Crystal Plumage in 1970. As such, the Italian thrillers of the 1960s could be thought of as prototype gialli - transitional works that bridge the gap between the the fantastical psychosexual modernist fare of the 1970s and the more traditional thrillers of the 1960s that were often rooted in the Gothic. One key text to understanding this transitional period in the giallo is Ernesto Gastaldi & Vittorio Salerno’s Libido (1965) which is imbued with elements of both and marks a move towards the archetypal giallo that Gastaldi helped to popularise as a prominent writer in the genre. In this episode of Fragments of Fear, we examine this key period in the genre and examine how Libido acts as a transitional yet highly influential work in the giallo. We take a look at the film’s Freudian themes, Gastaldi & Salerno's use of the Gothic and Libido’s enduring influence on the giallo alongside our usual musings on the film’s production history and key players.

Tropic of Cancer (1972) Fragments of Fear returns for another episode focussing on the genre’s golden period, examining Edoardo Mulargia & Gian Paolo Lomi’s Haitian set 1972 giallo Tropic of Cancer; an entry that eschews some of the more traditional trope heavy gialli of the early 1970s in favour of incorporating influences outside of it - primarily the Mondo film of the 1960s. We look at how this influence manifests throughout the film and ascertain the effectiveness of Tropic of Cancer’s Mondo like elements and depictions of Haitian culture within the structure of the giallo. We also discuss the film’s musings on sexuality, a fitting topic considering the prominent role of Swedish screen siren and giallo queen, Anita Strindberg whose career we take a look at in our discussion of the film’s players. As always, we give our insights into the film’s production history, plot mechanics and thematic ideas whilst evaluating its role in the giallo pantheon.

The Rage Within (1969) In this month’s episode of Fragments of Fear, we return to the Italian thrillers of the late 1960s, looking at Franco Rossetti’s The Rage Within. Released in 1969, at the height of the student protests, we examine how the political volatility of the late 1960s manifests throughout the film - assessing if the purported ideologies of the main characters are wholly honourable. Adapted from Alberto Moravia’s short story, “Crime at the Tennis Club” we look at how Rossetti translates Moravia’s themes of Roman existentialism to the 1960s through various familiar giallo thematic tropes such as blackmail, jealousy and double crossing. We also analyse what The Rage Within says about the widening chasm of the generational divide in the 1960s and explore this concept in relation to the relationships between the central characters.

Cross Current (1971) In the latest episode of Fragments of Fear, we take a look at Tonino Ricci’s 1971 giallo Cross Current. An example of an Italian Spanish co-production, Cross Current was released during the boom period of the giallo and exhibits elements of the Les Diaboliques influenced sexy Italian thriller of the 1960s alongside the more psychological Argento styled thriller. Throughout the episode we examine the effectiveness of these elements and explore the execution of the film’s many twists and turns. We also take a look at the film’s cast of seasoned euro cult actors and the motivations of their characters alongside our usual examination of the film’s production history, design and set pieces.

Plot of Fear (1976) Delving once again into the genre’s post golden period, in this month’s episode of Fragments of Fear we take a look at an example of the giallo poliziotteschi hybrid in Paolo Cavara’s politically charged E tanta paura aka Plot of Fear (1976). In our dissection of the film, we explore Cavara’s background as the originator of the Mondo film and take a look at how the creative freedom afforded to him in Plot of Fear led to a complex, deconstruction of the giallo utilising elements of the poliziotteschi and American led conspiratorial thrillers of the era. Other themes explored in the episode include Plot of Fear’s satirical leanings, the concept of surveillance led paranoia, political injustice and decadence and perversion.

Mystère (1983) The 1980s heralded in a new era for the giallo and Carlo Vanzina’s 1983 thriller, Mystère is indicative of a marked change in the Italian thriller during the decade of excess. We take a look at how the cultural shift in the 1980s manifested in the stylings of Carlo Vanzina’s contemporary giallo, examining the film’s influences from Roger Moore era Bond to Jean-Jacques Beineix ’s 1981 thriller, Diva. In our discussion of Mystère, we examine the film’s tonal shift from giallo to espionage thriller, its depiction of prostitution, 1980s yuppified glamour and Carole Bouquet’s enigmatic performance as the morally ambiguous Mystère.

Death Carries a Cane (1973) For the latest episode of Fragments of Fear we turn our focus once again to the golden period of the genre with Maurizio Pradeaux’s 1973 giallo, Death Carries a Cane - a formulaic giallo indicative of the trend for Argento styled thrillers in early 1970s Italy. Analysing the film’s merits, we discuss the effectiveness of its humour - touching upon the role of comedy in the giallo - and examine how it impacts on Death Carries a Cane’s characterisation. We also muse on the film’s Argento inspired set pieces and brief similarities with Luciano Ercoli’s Death Walks films including the multiple shared cast members. Finally, we assess the effectiveness of Death Carries a Cane’s ending and the alternative explanation given for the film’s events in the German version.

The Muder Clinic (1966) In the latest episode of Fragments of Fear we once again return to the 1960s, delving into the genre’s Gothic strain with 1966 Gothic giallo hybrid, The Murder Clinic. Discussing the intersection between the Gothic and the giallo, we examine the effectiveness of this melding of genres ruminating on how the Gothic influenced the more contemporary styled gialli of the early 1970s. We also discuss the impact of Mario Bava’s Blood & Black Lace on The Murder Clinic, assessing changing trends in Italian horror and thriller cinema during this volatile period. Turning our attention to notable figures in the genre, we look at those instrumental to The Murder Clinic from the illustrious career of genre defining writer Ernesto Gastaldi to the colourful yet tragic life of lead actor William Berger.

Puzzle (1974) In this month’s episode of Fragments of Fear we revisit the genre’s post golden era examining Duccio Tessari’s 1974 giallo Puzzle. Arguably the lesser discussed giallo of Tessari’s foray into the genre, we make the case for why Puzzle is an essential title for fans of the giallo. From the film’s sympathetic characterisation, courtesy of Senta Berger’s exceptional leading performance, to its exploration of Hitchcockian style themes of fractured and mistaken identity, Puzzle is an effective thriller that eschews the genre’s tropes in favour of a more heartfelt styled mystery. Emotive and engaging, Puzzle is a captivating slow burn giallo that places its characters at the heart of its mystery. We discuss why these elements make Puzzle an effective, albeit, different entry in the giallo cannon. Theme music performed by Ozarks. Hear more at castleozarks.com.

The Crimes of the Black Cat (1972) Entering into the giallo’s golden period, Fragments of Fear takes an in-depth look at Sergio Pastore’s The Crimes of the Black Cat (1972). Heavily indebted to the early gialli of Dario Argento, we take a look at the way in which the new Italian thriller influenced The Crimes of the Black Cat and the ways in which Pastore incorporated Argento like flourishes into his film. We also take a gander at The Crime of the Black Cat’s sympathetic approach to its female characters, the giallo’s predilection with the fashion house and the film’s shocking Psycho inspired crescendo.

So Sweet... So Perverse (1969) In this month’s episode of Fragments of Fear we take our first foray into the work of prolific Italian genre film director, Umberto Lenzi, delving into the second of his gialli with American actress Carroll Baker; Così dolce, Così perversa aka So Sweet… So Perverse (1969). We discuss one of the most influential but unsung figures of the giallo; Luciano Martino, examine the various strands of the 1960s giallo and look at the core themes at the heart of the film from its erotic nature and changing gender politics to Lenzi’s critique of class and portrayal of the ennui of the bourgeoise.

Autopsy (1975) In the inaugural episode of Fragments of Fear, we discuss Armando Crispino’s deliriously innovative 1975 giallo Macchie Solari aka Autopsy. Wavering between science-fiction tinged surrealism and a detached almost documentary like style, Crispino’s Autopsy is a somewhat experimental take on the giallo that plays with the genre’s form to deliver a fascinating and unrelenting character study of a woman plagued by personal trauma set against a backdrop of mysterious suicides in sun drenched Rome. Join us as we dissect the genesis of Autopsy, female neurosis in the giallo and the relationship between sex and death in this overlooked yet pivotal entry in the giallo cannon.