Gothic Fantastico: Four Italian Tales of — Gothic Fantastico( Blu Ray boxset)

Gothic Fantastico is a four-film boxset focusing on lesser-known Italian Gothic horror films of the 1960s. The pictures featured move from those that whole heartily embrace the genre tropes, to those trying to be more experimental with the form. This Blu-Ray boxset is from the folks at Arrow Video- and as we’ve come to expect from the label, we get a treasure trove of commentaries and extras, as well an eighty-page booklet, and double-sided poster- all  in limited edition packaging, with reversible sleeves featuring original and newly commissioned artwork.

 The set opens with 1965’s Lady Morgan's Vengeance ( La vendetta di Lady Morgan ), which is a blend of period melodrama come light gothic horror, with the picture being captured in moody monochrome. It was directed by San Severo, Italy Massimo Pupillo- in total, he had six feature-length credits to his name. These went horror mystery Terror-Creatures from the Grave (1965), rather kinky gothic horror Bloody Pit Of Horror (1965), spaghetti western Django Kills Softly (1967), and mondo Love: The Great Unknown(1969).
 

The film begins with Susan Blackhouse (Barbara Nelli) preparing to marry   Pierre Brissac (Michel Forain)- he’s making his way via boat to be with his love, through gets pushed overboard and is seemingly dead. Up pops another well-to-do suiter Sir Harold Morgan (Paul Muller-who in total had two hundred and forty-one actor credits to name including more than a few Jess Franco titles). The marriage is rushed through with the pair settling in Susan’s family's castle, and fairly soon Harold brings into the house a new governess Lilllian (Erika Blanc) who is seemingly rather sinister.

As things move on, we find out that Lillian is hypnotizing and controlling Susan- to make it look like she is losing her sanity- and this takes up the first half or so of the film. The second part of the film very much squarely fits into gothic horror territory, as one of the houses number lands up dead- and seemingly someone- be they alive or dead is taking out those remaining in the house.
 
Lady Morgan's Vengeance is very much a game of two halves- initially, we find a mix of melodrama, light is-she-going-mad-or-not-mystery, with subtle touches of gothic tropes. Then later on we step more into gothic-come-supernatural horror, with some proto-slasher elements mixed in. The film to begin with is fine if a little slow-paced in its largely period drama feel- but it does keep you held well enough, and when the more gothic/ horror side kicks in we get some rather neat ‘n’ creepy moments. There’s a wonderful tense & eerier moody been lead up a candle-lite corridor scene, a fair few drop-off building kills, misty graveyards, and an under the castle shadowy selection of cells.
 

On the extras side, we get a nice selection of things. We get a commentary track from Australian author and critic Alexandra Heller-Nicholas. She begins by talking about the film's undercurrents of gaslighting and domestic violence, which is one of the key reasons she has returned to the film over the years. She talks about the other two gothic films by the same director, and how this film compares to those and connections. She chats about key members of the crew including the script writer Giovanni Grimaldi- his other screenplays, and notable films he directed. We get a brief overview of Italian gothic, and how it relates to the English genre. Later on, she discusses the film's blend of violence and loss. She talks about the idea of the gothic, quoting various scholars. Discusses other films with similar themes, and the origin of gaslighting. I felt this track was somewhat underwhelming, in places sporadic, and towards the second half rather academically focused. This is a real pity, as I’ve now heard several of Ms Heller-Nicholas's tracks- and normally I’m a big fan, as she balances observation, humour, and light sprinkles of academia- sadly she just feels rather flat and a little dull here. Otherwise, we get the following- Vengeance From Beyond (4:38) introduction from Mark Thomspon Ashworth. The Grudge (21:29) video essay by Kat Ellinger. She Talks about the horror that developed in Italy and other countries in the post-war period. Born to be a Villain (20.03) interview with actor Paul Muller. The Pupillo Tapes (20.16) edited audio interview with director Massimo Pupillo from 1993. The complete original cineromanzo- the photobook for the film that was published in 1971, original Italian trailer, and image gallery.
 
 

 

The Blancheville Monster is from the year 1963, and really is prime gothic melodrama- we have everything you’d need/expect. A creepy woodland set castle, a family curse, shady and sinister servants, and oh someone/ something horrific in the castle top tower attic. The film was directed by Rome-born Alberto De Martino- who had twenty-eight credits to his name. These went from the sword-and-sandal film The Invincible Gladiator (1961), to wacky comedy western Terrible Sheriff (1962). Through to Euro Spy caper The Spy with Ten Faces (1966), giallo The Killer Is On The Phone(1972), and the demonic possession film The Antichrist(1974).

The film is captured in wonderfully moody black and white- and I must say the scan here looks frankly amazing in its definition/ clarity-as at points you can see the actor's breath. It revolves around Emilie De Blancheville (Ombretta Colli) a blond and decidedly naive woman returning to her family home after a few years away at college- with her are three college friends. The group are planning a party for Emille, as she is around a week away from her twenty-first. When she arrives at the family castle, she meets her decidedly glum and goateed older brother Roderic (Gérard Tichy)- we find out the family's father died in a fire, and all the long-serving house staff have seemingly left. The house is now run by the dressed all in black, sombre, seemingly constantly chillingly drifting around the house Miss Eleonore (Helga Liné).

As the group try to settle in it seems there is someone else in the castle, as they hear pained groaning, and something seems to be moving up in the castle tower attic. As things unfold, we get moody candle-lite sleepwalking- which goes from the deep shadows of the castle, out to the vast crumbling family crypt. There’s all manner of shifty looks, family secrets, and melodramatic acting. We also have more than a few scenes in a great atmospheric forest around the property, and of course, the mystery of what is really going on which is revealed in a slight corny scooby-doo manner.

The Blancheville Monster is fairly typical of the gothic melodrama form, with touches of both creepy horror and mystery running through the film. It’s all well enough acted, and we do get some rather effective chilling moments here ‘n’ there. But on the less positive side, it does drop into gothic cliches a little too often, and when what really is going on it’s not too surprising. So, in finishing, I’d say it’s a passable gothic film- which feels like it’s more from the ’50s than a 1960’s film.
 
Extras wise on this disc we have a commentary track from filmmaker and film historian Paul Anthony Nelson- this is both informative, and at points fairly amusing. He starts by pointing out that he thinks the film's opening shot rather reminds him of the original Evil Dead, that is of course until we pan over to the model castle. He talks about how the director was thirty-four when he made this film, and apparently, he didn’t very much rate it. We find out the film was known as just the Horror in some places, with the addition of Edge Alan Poe’s name- though it wasn’t directedly based on any of the author's stories, but of course, there are Poe-like tropes/ touches throughout the film. He talks about how he feels some of the film's make-up comes from the novels of Jane Austin, We get a potted history of Italian gothic horror in film, and where the film to hand sits in this. He talks about how the film uses gothic tropes to add red herrings to the story. Later on, he talks about Emilio Ruiz del Río- who created the mat paintings, miniatures and effects for the film, giving a rundown of his six-and-a-half-decade career that took in work both in Italian and bigger budgeted American films. He points out the nods towards Poe’s The Fall Of The House Of Usher, the character's motivations and their manipulation. He also gives bios of the actors, and of course lots more- all in all worth a play track. Otherwise, on the extras side, we get Castle of Horror (6.49) which finds Mark Thompson Ashworth discussing the history, as well as cast and crew of the film.  Are You Sure That It Wasn’t Just Your Imagination? (20.54) video essay on the film by writer and pop culture historian Keith Allison- he talks about the film to hand, as well as other films in the genre. Welcome to the Manor (13.55) which is an interview with author and filmmaker Antonio Tentor talking about the film. Lastly, there are alternative US credits.
 
 

Next is 1966’s The Third Eye. This is atmospheric, at points surprisingly bloody/ extreme blend of proto-Giallo, psycho-thriller, and gothic horror. It was directed by Rome-born Mino Guerrini(as James Warren )- he had twenty-one feature-length credits to his name. These took in the likes of saucy comedy Up And Down (1965), euro spy Date For Murder (1967), historic softcore comedy The Other Canterbury Tales (1972), and Au Pair Comedy The Best (1976).

The film focus on twenty-something count Mino Alberti (Franco Nero) who lives in a rundown and cluttered mansion with his pudgy and domineering mother (Olga Solbelli). He’s hoping to get married to his blond-haired sweetheart Laura (Erika Blanc)- but his mother is none too keen, and neither is raven-haired & shifting housekeeper Marta (Gioia Pascal), who has somewhat of a crush on Mino.  

Fairly early in proceedings, Laura has a car accident as someone has cut her breaks- and she goes careering into a river. Mino finds her seemingly dead, and this rather unbalanced the hen-pecked count. And as things unfold the bodies start to pile up, and Mino becomes more unhinged as Laura's twin sister Daniela turns up, and he believes his love has returned.

The cluttered and rundown mansion is nicely shadowy and mood setting. Added to this we have a largely fair-to-very-good cast. Nero is certainly the highlight here as the at first reserved & easily pushed around count- who slowly but surely loses his marbles. Solbelli plays a classic overbearing and interfering mother. And Pascal is good as the devious-at-times creepy housekeeper. Pascal is a little mixed, as when she’s playing Marta, she is somewhat flat and bland- though when she switches to Daniela she plays well the unnerved sister. The film blends together its genre elements well enough- though I’d say the Gothic elements are probably lesser than the proto Giallo & psycho-thriller tropes. On the whole, The Third Eye is a moody to creepily suspenseful film, and the black and white stock is used here to great effect- with Nero really giving an early career highlight performance, which is worth seeing alone for fans of Italian genre films.

 

On the extras side, we have a commentary track from author and critic Rachael Nisbet- this is a very wordy and detailed affair, and clearly Ms Nisbet did a lot of research for the track. She begins by detailing the film's production which started in June of 1965, she talks about the films production company/ other films it released. She talks about the film's screenwriter Piero Regnoli, and the influences on the film including most notable being Hitchcock's Psycho. She discusses how much of the cast/ crew were newcomers- and what they later went on to do in the Italian cult film industry. She talks about the film's story and its themes in depth, and how the gothic tropes are used in both. She discusses character motivation, and elements that were cut from the film in some countries. She compares Nero's character and Norman Bates. We find out the director had been a painter, and she points out notable scenes where this can be seen with the placement of camera/ shot use. Later on, she discusses the set decoration is selected scenes. We find out the film's score is recycled from another film and talks about memorable cues. We find out that the film was all but remade with Joe D'Amato 1979’s film Beyond the Darkness, but of course, that was tad more extreme- and she compares the two films. All in all, a very packed track, which could easily be played several times. Otherwise, on the extras front, we have The Cold Kiss of Death (6.15) which finds Mark Thompson Ashworth talking about the film and its cast and crew. Nostalgia Becomes Necrophilia (12.00) a video essay from author and filmmaker Lindsay Hallam where she talks about the themes/ meanings of the film. All Eyes on Erika (15.40) which is a subtitled on-screen interview with the actress. And an image gallery.
 
 
The fourth and final film in the set is The Witch (aka La strega in amore) is from the year 1966- and is best described as an atmospheric 60’s mystery, touched with elements of gothic and supernatural horror. The film was directed by Friuli-Venezia Giulia, Italy-born Damiano Damiani. In total he had twenty-eight feature-length credits to his name- these went from crime drama Lipstick (1960), onto Klaus Kinski staring Spaghetti Western A Bullet For The General(1967), through to paranoid thriller Poliziesco I’m Afraid(1977), haunted house horror sequel Amityville II: The Possession(1982), and comedy Killers On Holiday (2002).
 
The film's lead character is Sergio Logan (Richard Johnson) a cocky, dating several women at once author. When the film begins, he starts to get very twitchy, as he keeps seeing everywhere a woman in her late 60s, who has seemingly been watching/ following him for the last month or so. One day, while chatting to one of his numerous girlfriends- he sees the woman again at a newsstand he rushes over, as she darts in the car. He asks the news seller what she wanted, and he informs Sergio it was regarding an ad in the back of one of the paper- he reads the ad, it’s for a job which seemingly describes him- so he makes his way to the large city set house, and here he finds the woman, she is named Consuelo Lorente(Sarah Ferrati). She wants him to work in the dusty, cobweb-covered, and rat-scuttling library- where her husband risqué vols of dairies sit. He’s just about to leave clearly freaked out by the odd woman, a brunette younger temptress appears from the shadows of the library- we are told this is Aura (Rosanna Schiaffino) who he quickly becomes enchanted/obsessed by. He meets the wild-eyed and twitchy Fabrizio (Gian Maria Volontè) who also works at the house's library. 

As the film goes on Aura and Consuelo get their claws into the once cocky and self-assure Sergio. We find out the pair dislike cats, and Consuelo is drinking some sort of berry-based tea, which is been grown in the dusty and crackled glass of the house's greenhouse.
 
As you’d expect, seasoned British actor Johnson is in fine form, as he switches from juggling partners womanizer, to a haunted and obsessed shell of his former self. Ferrati is effective as the mysterious older woman, as is Schiaffino as the reappearing ‘n’ disappearing sensual temptress. The house itself is a wonderful rambling building, with plaster-chipped walls, cobwebs and disarrangement though out. The film comes in at around the one hour and fifty-minute mark- which is maybe twenty or so too long. But for the most part, The Witch is an appealing and atmospheric mystery, with the gothic and horror being placed in an effective/interesting manner in the 1960s setting.
 
Moving onto the extras on this final disc, and we once again get a great selection of things. First off, we have a commentary track from the author, critic, and genre expert Kat Ellinger- and as we’ve come to expect it’s excellent, really bringing to life the film even more. She starts by saying that she sees this film as the most exciting restoration of 2022, and that it’s a great example of how experimental the Italian gothic genre could be, compared with English and American example of the genre. She comments on the opening credits, and the film's score- briefly discussing the composer's career. She discusses how the male lead is very different from most gothic leads, and the feel of the uncanniness of the main house in the film. She talks about how she sees the film as a gothic version of Sunset Bolvade- discussing the comparison between the two. She points out how the film rather turns gender and sex upside down, and the film's subtle perversity. She discusses the different genre flavours in the film's score, and how some of these nods back to setting of the original short story was set. Later on, she discusses female sexual predators/ vamps in genre films, and how this trope developed in a slower often different way in Italian cinema. She talks about other stories/ films with similar themes. She chats about the noir elements in the film, how the film is often unfairly tagged as just a drama, and the lead actors take on his role. So, another must-play track from Ms Ellinger - which I’ll certainly replay down the line. Otherwise, we get the following- Witchery(3.45) which finds Mark Thompson Ashworth briefly talking about the film and its history. Loving the Devil (24.25) video essay on the film by author and academic Miranda Corcoran. The Rome Witch Project(18.38) interview with author and filmmaker Antonio Tentori, discussing the director and the film itself. And we get an image gallery. 

 

Gothic Fantastico: Four Italian Tales of Terror is another wonderful curated and presented box set from the folks at Arrow Video, shining a light on the lesser-known side of Italian gothic horror. And while not all of the films are wholly successful, they certainly all have their moments- with the excellent new 2k prints and extras enhancing the whole set considerably.