We will probably never know the exact number of Nazi war criminals who escaped from Germany in the aftermath of WW2 and made their way to South America but some of the more infamous ones are Adolf Eichmann, who was later captured in Buenos Aires, brought to trial in Israel and executed in 1962, and Josef Schwammberger, who was arrested in Argentina and returned to West Germany for a trial in 1992 (he was sentenced to life in prison and died there). At the same time, there have been reports that as many as 9,000 Nazi officers and collaborators found a safe haven in countries like Brazil and Paraguay under new identities and were never arrested for their war crimes. This unsettling realization inspires the narrative of Philippe Condroyer’s A Man to Kill (French title: Un Homme a abattre, 1967), a fictional espionage thriller that focuses on a suspected concentration camp officer who resurfaces in Barcelona years later as a low profile German architect.Continue reading
People usually have certain expectations when they invest the time to watch a movie, especially if it has been advertised as a genre film like a western, sci-fi or horror thriller. This must have been a perplexing problem for the distributors of Arcana (1972), Guilio Questi’s mysterious tale of a widow and her brooding son who use fortune telling, tarot cards and seances to con a gullible clientele. The film dabbles in the supernatural but it also flirts with other topics like voyeurism, incest, Macedonian rituals, neglected children, middle class despair and inept bureaucracies. Some critics have pigeonholed Arcana as a horror film and it is certainly horrific in tone and attitude but don’t expect the movie to conform to genre conventions. The director even issues a disclaimer at the beginning: “To the watchers: This movie is not a story but a game of cards. For this reason both its start and the epilogue are not believable. You are the players. Play smartly and you’ll win.” Make of that what you will, I think Arcana works best as a puzzle, even if it is an often inscrutable and unsolvable one that is presented in two acts. Continue reading
Italian director Elio Petri is probably best known for Investigation of a Citizen Above Suspicion (1970), which won the Oscar for Best Screenplay (by Petri and Ugo Pirro) in 1972. Yet, most of his other work, with the possible exception of the cult sci-fi satire The 10th Victim (1965), remains overlooked or forgotten when film historians write about the great Italian directors of the sixties and seventies. And 1968’s A Quiet Place in the Country (Un Tranquillo Posto di Campagna) is easily one of his most intriguing and visually compelling films.
If U.S. moviegoers are familiar with the name Tinto Brass at all, it is probably due to the infamous 1979 epic Caligula which featured world renowned actors (Peter O’Toole, Helen Mirren, John Gielgud, Malcolm McDowell, etc.) and hardcore sex scenes (which were later added by producer/Penthouse tycoon Bob Guccione against the wishes of Brass who disowned the film). Brass had already established himself as a master of art house erotica/perversity with 1976’s Salon Kitty about a brothel in WWII Berlin where the prostitutes were undercover spies. But after Caligula, Brass seemed much happier directing more modestly budgeted, softcore adaptations of literary works like The Key (1983, based on the novel by Jun’ichiro Tanizaki) and Paprika (1991, inspired by the novel Fanny Hill), which showcased his increasing obsession with shapely female bottoms.
In retrospect, his early career is a contemplation of the paths not taken: documentary (Ca ira, il fiume della rivolta aka Thermidor, 1964), avant-garde cinema (L’urlo aka The Howl, 1970) and eccentric genre offerings such as Col cuore in gola aka Deadly Sweet, 1967). Of the latter, Yankee (1966), the only spaghetti western ever directed by Brass, is definitely worth a look. Continue reading
Back in the days before the VHS home video market exploded and Blockbuster became the obiquitous rental store, the 16mm film library was still a viable business in the non-theatrical college and educational markets. The decline would begin in the early eighties and by the end of the decade most 16mm distributors would be out of business. But during the peak years, this film format was affordable and easily accessible to all types of organizations (churches, schools, businesses and prisons) and also individuals who ran private film societies. Continue reading