Criterion’s new Blu-ray presents Luchino Visconti’s darkly perverse The Damned in a new 2K restoration whose dense colours emphasize the gloom hanging over a powerful German industrial family collapsing under the weight of its own decadence as the Nazis consolidate their political power in the early 1930s.
With their second pair of releases, the folks at Cauldron Films have again dug deep into the fringes of genre movie-making, this time unearthing Sergio Pastore’s The Crimes of the Black Cat (1972), an Italian giallo from the peak period of that genre, and Tomas Aznar’s Beyond Terror (1980), a Spanish film which begins as a nihilistic story about a gang of vicious criminals and morphs into a supernatural revenge narrative.
A selection of European genre movies from the 1970s and ’80s ranges from sadistic killers to cannibals to elegant vampires, from bad fashions and electro-pop music to old families sinking into decadence, from masters of exploitation like Sergio Martino, Lucio Fulci, Umberto Lenzi and Ruggero Deodato to the artful Harry Kümel.
Minor Euro-horror gets the deluxe treatment in several releases from Blue Underground, Grindhouse Films and Severin; three features by Dutch director Dick Maas – De Lift (1983), Amsterdamned (1988) and Down (2001) – and three from Lucio Fulci – Cat in the Brain (1990), Aenigma (1987) and Demonia (1990) – along with Simone Scafidi’s Fulci for Fake (2019), an illuminating documentary about Fulci.
Unhappy with her career in Hollywood, actress Carroll Baker moved to Italy in the mid-’60s where she starred in a number of genre movies, including four erotic thrillers by Umberto Lenzi which bridge the gap between classic women-in-peril mysteries and the giallo. All four are collected together by Severin in their lavish The Complete Lenzi/Baker Giallo Collection Blu-ray box set.
In popular culture, and exploitation movies, cannibals are the disreputable cousins of the zombie; they have the embarrassing habit of eating unsuspecting people without any supernatural justification. There’s a distinct difference, though, between American and Italian cannibal movies – the former adhering to tropes related to serial killer stories, while the latter draw on anthropological ideas to provide a gloss of realism to graphic exploitation imagery. The contrast can be seen clearly between Andrew van den Houten’s Offspring (2009), Lucky McKee’s The Woman (2011) and Pollyanna McIntosh’s Darlin’ (2019) and Ruggero Deodato’s Cannibal Holocaust (1980) and Umberto Lenzi’s Cannibal Ferox (1981).