(recommendation applies to Severin Film’s three disc set, not to the title documentary)
DIRECTED BY: Federico Caddeo
FEATURING: Fabio Melelli, Umberto Lenzi, Lamberto Bava, Dario Argento, Daria Nicolodi, Lucio Fulci, Barbara Bouchet, Susan Scott, Sergio Martino, Edwige Fenech, George Hilton
PLOT: A documentary describing the rise and nature of Italian giallo thrillers of the 60s and 70s, with reflections by many of the original practitioners.
WHY IT WON’T MAKE THE LIST: It’s purely supplemental material—but a worthy package for those cultivating an interest in this stylish but disreputable genre.
COMMENTS: Standing alone, the competent titular documentary would not be of exceptional interest; it’s the extras that put this three-disc set over. For those who don’t know, giallos were a peculiarly Italian subgenre of film: murder mysteries, typically with very convoluted plots and stylish, dramatic visuals influenced by psychedelic culture. As the genre developed, giallos took advantage of growing cultural permissiveness of the 1970s and became increasingly exploitative, pushing the censor’s boundaries by including more and more graphic sex and violence. Especially in later films, the plots turned perverse and psychological, dealing with delusional heroines stalked by black-gloved killers. The giallo period in cinema lasted from approximately 1963 (with Mario Bava‘s The Girl Who Knew Too Much) until the late 1970s/early 1980s, when this daring “adult” fare was gradually absorbed into dumb, repetitive teen-skewering slashers.
All the Colors of Giallo starts strong, with an overview of the giallo’s roots in sensational crime literature (with trademark yellow covers that gave the genre its name). But the strict chronological format—interviewing to a succession of directors and collaborators in the approximate order they make their appearance on the scene—means the general viewer’s interest starts to flag as the genre itself peters out. The material is presented with the conventional mix of talking heads, poster shots, and illustrative clips (mainly taken from trailers). All the Colors of Giallo does have the virtue of convincing all of the genre’s major contributors to chip in a sound bite or two—and not just the directors and actors, but screenwriters and producers, too. Lucio Fulci even takes time out to get catty about his more celebrated rival Dario Argento, whom he argues is a “great craftsman who thinks he’s an artist” and “a good director” but “a terrible writer.” The lack of professional courtesy there is fun and refreshing.
But it’s only after the documentary ends that the real fun begins, as you dig into the extras. Not to slight a separate short interview with John Martin, editor of the fanzine “The Giallo Pages,” but it’s the “Giallothon”—over four hours of trailers, some rare, covering every major film in the genre—that’s the pick of Disc 1. You watch All the Colors of Giallo to earn your bachelor’s degree; “Giallothon” is research for your doctoral dissertation. It has 82 trailers spanning 20 Continue reading CAPSULE: ALL THE COLORS OF GIALLO (2019)