Gabriel Axel’s The Red Mantle

The name Gabriel Axel might not be familiar to most American moviegoers but many are familiar with his 1987 film Babette’s Feast which became a surprise art house hit and won the Oscar for Best Foreign Language Film, beating out Louis Malle’s Au Renoir les Enfants. Ironically, Axel was almost 70 and at the end of his filmmaking career when he experienced a career resurgence. But the film that is considered his first international art house breakthrough is Den Rode Kappe (1967), which was released in Europe as Hagbard and Signe and is best known under the title The Red Mantle in the U.S. The poster above with the awkwardly edited quote – and movie spoiler – from Time magazine also includes the reference “From the producers of Dear John” which means nothing to anyone today but that film was a slightly risque art film in its day (due to the nudity) and a nominee for Best Foreign Language Film of 1965 (It lost to Elmar Klosand and Jan Kadar’s The Shop on Main Street). Continue reading

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Cult of the Arachnids

By the mid-1980s the Italian film industry was in a state of major decline. The glory years of the fifties and sixties were now fondly remembered footnotes in the history of world cinema and even the popular film genres – giallo, poliziotteschi, spaghetti western and horror – were near the end of their heyday. There were still a few determined stragglers such as Tinto Brass with his fetish based erotica (The Key, Miranda, Snack Bar Budapest) and Enzo G. Castellari, who soldiered on with formulaic hybrids like 1990: The Bronx Warriors, Tuareg: The Desert Warrior and Striker. But the horror genre, in particular, was suffering with masters of the macabre Lucio Fulci and Dario Argento trying but failing to top past high water marks like The Beyond (1981) and Suspiria (1977). It was during this downward trend that Gianfranco Giagni made his directorial debut with The Spider Labyrinth (Italian title: Il Nido del Ragno, 1988).  Continue reading