And while making a claim for any film as the first giallo will only degenerate into an unresolvable debate akin to naming the first punk rock band, a lot of people tend to agree that it’s Mario Bava’s Blood and Black Lace — which I’ve never seen.
A serviceable if somewhat awkward masala adventure, very much in the spirit of old exploitation films that seek to teach us the perils of assorted alternative lifestyles even as they indulge in endless scenes of said lifestyle.
There’s also a neat little XTC rarity, composed specifically for the film. Unfortunately, true to Robert Stigwood’s intent, this ends up being more of an argument for buying Times Square‘s soundtrack than it does for watching the film itself.
Though our modern eyes might see The Godless Girl as containing, at best, the makings of a solid “B” type feature, DeMille clearly saw himself as making an epic.
But then, Fanck goes and does something like the shot of Johannes outside, smoking a cigarette while sitting on an old wooden fence with the whole of the Alps spreading out behind him, and it pulls you right back in. Silent films trade in images, by necessity, and Fanck manages on many occasions to capture scenes of iconic beauty.
Above and beyond all else, kungfu films have always existed so that they can teach to us valuable life lessons. At their best, they are practically training manuals for how to live a healthy, productive, and socially relevant life. For instance, if your pupils are killed by a one-armed kungfu master, then you as a…
I don’t figure anyone goes into Yor expecting stunning revelations. You go in because you want to watch cavemen do somersaults and have laser battles with robots.