On the Cultural Gutter, I’m writing about apocalyptic scifi and horror from the normally well-behaved Japanese film studio Shochiku. Shochiku was most closely identified with shomin-geki, dramas about the lives of everyday people, and the undisputed master of such films was Shochiku director Yasujiro Ozu. But a studio can only exist for so long onContinue reading “Sci-Fi, Shochiku Style”
On Diabolique: My three-part article, “Strange Tales from a Chinese Studio,” examines A Chinese Ghost Story, the original story by Pu Songling, and the Shaw Brothers’ Enchanting Shadow.
Strip Nude for Your Killer is a sleazy, offensive bit of giallo trash, but at least it wastes no time letting you know exactly where you stand.
Sex, the Italian coast, outlandish murders — everything in The Sister of Ursula operates under the directive of “This should be good, but we’re going to mess it up.”
When it comes to truly loathsome characters in giallo, few can match The Case of the Bloody Iris, a film in which everyone is hateful or stupid; or more often, hateful and stupid.
The Bloodstained Butterfly has the elaborate murders and red herrings one expects, but it also spends time on police procedure, forensic science, and courtroom maneuvering.
Whatever shortcomings Nobuo Nakagawa’s Lady Vampire Has are not enough to counter its chaotic appeal. It may be less gory than his next film, and it may make no sense, but it has an enthusiastic willingness to be weird.
All the Colors of the Dark is a a film that delivers all the requisite elements of a giallo and then some, with the peak popularity of giallo being combined with the trend in devil worship and witchcraft movies.
Beneath Ercoli’s tweaks of the nose is a typically giallo approach to storytelling, which is to take a relatively straight-forward story and relay it in the most convoluted, difficult to follow fashion.
The Bird with the Crystal Plumage remains to this day a highly regarded classic, and rightfully so. Decades after it’s release, and decades after legions of imitators, it still feels fresh, inventive, and shocking.
Despite coming out in 1971 — a banner year for giallo — Slaughter Hotel plays like one of Jess Franco’s lesser efforts, or something from bottom-of-the-bucket production house Eurocine.
Giallo often treat logic as a secondary consideration at best. That said, Emilio P. Miraglia’s The Night Evelyn Came Out of the Grave is nonsensical even within the forgiving confines of giallo logic.