Double Face – Arrow Video (Blu-ray)

Theatrical Release Date: Italy/West Germany, 1969
Director: Riccardo Freda
Writers: Riccardo Freda, Lucio Fulci, Paul Hengge, Romano Migliorini, Gianbattista Mussetto
Cast: Klaus Kinski, Christiane Krüger, Günther Stoll, Annabella Incontrera, Sydney Chaplin, Barbara Nelli, Margaret Lee

Release Date: June 24th, 2019 (UK), June 25th, 2019 (USA)
Approximate Running Time: 91 Minutes 26 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Italian, LPCM Mono English
Subtitles: English, English SDH
Region Coding: Region A,B
Retail Price: £24.99 (UK), $39.95 (USA)

"When wealthy businessman John Alexander (the legendary Klaus Kinski, giving an atypically restrained performance)'s unfaithful wife Helen (Margaret Lee, Circus of Fear) dies in a car crash, it initially looks like a freak accident. However, the plot thickens when evidence arises suggesting that the car was tampered with prior to the crash. And John's entire perception of reality is thrown into doubt when he discovers a recently-shot pornographic movie which appears to feature Helen – suggesting that she is in fact alive and playing an elaborate mind game on him…" - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Scanning and restoration work was completed at L'Immagine Ritrovata, Bologna. The original 35mm camera negative was scanned in 2K resolution on pin- registered Arriscan. Thousands of instances of dirt, debris, scratches, picture instability and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques.

THe film was graded on Digital Vision's Nucoda Film Master at R3Store Studios, London.

All original materials used in this restoration were accessed from Surf Film."

Double Face comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.2 GB

Feature: 24.9 GB

Outside of a few minor moments, this transfer looks excellent. Flesh tones look correct, colors are nicely saturated, image clarity, black levels, contrast, and compression are solid, and the image always looks organic.

Audio: 4/5 (LPCM Mono Italian, LPCM Mono English)

This release comes with two audio options, an LPCM mono mix in Italian and an LPCM mono mix in English. Though both audio mixes are in very good shape, there are a few minor instances of background noise. Dialog always comes through clearly; everything sounds balanced, and the score for the film sounds appropriately robust. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track.

Extras:

Extras for this release include Italian theatrical trailer (3 minutes 32 seconds, Dolby Digital mono Italian with removable English subtitles), English language theatrical trailer (3 minutes 32 seconds, Dolby Digital mono English, no subtitles), Image Galleries: German Pressbook (6 images), Italian Cineromanzo (61 images) and German Promotional Materials (27 images), a video essay by author and film critic Amy Simmons titled The Terrifying Dr. Freda (19 minutes 53 seconds, Dolby Digital stereo English, no subtitles), an interview with musician and soundtrack collector Lovely Jon titled The Many Faces of Nora Orlandi (43 minutes 28 seconds, Dolby Digital stereo English, no subtitles), an interview with composer Nora Orlandi titled 7 Notes for a Murder (32 minutes 18 seconds, Dolby Digital stereo Italian with removable English subtitles), an audio commentary with author and film critic Tim Lucas, A Doppia Faccia Cineromanzo photonovel (PDF extra), reversible cover art, and a 22-page booklet (limited to first pressing) with cast & crew information, an essay titled A Bastard Child: Double Face written by Neil Mitchell and information about the restoration.

Summary:

Directed by Riccardo Freda, who is most remembered for his work in the gothic horror genre. Notable films that he directed are The The Horrible Dr. Hichcock, The Ghost, The Iguana with the Tongue of Fire, and Tragic Ceremony.

After the tragic death of his wife, a man named John Alexander goes down a sinister path that will either consume him or give him the answers he seeks about his wife’s death.

Though Italian-genre cinema throughout the 1960s and 1970s was known for its co-productions with other countries, an overwhelming amount of these co-productions retained their Italian identity. And in many instances, it is because these films were directed by Italian directors. With that being said, there are always going to be exceptions to the rule. Case in point: Double Face is a classic example of a film that does not keep its Italian identity.

How does a film that was directed by an Italian filmmaker feel foreign to the country from which its director came? One need not look further than the source from which Double Face originates. In the 1960s, there began a film movement that is now referred to as Krimi films. These films were adaptations (loose adaptations in many instances) of the stories that were written by author Edgar Wallace.

And though most of the Edgar Wallace film adaptations have some connection to German cinema, Italian cinema has churned out a few Edgar Wallace adaptations. Italian cinema Edgar Wallace adaptations include Double Face, The Bloodstained Butterfly, What Have You Done to Solange?, and Seven Blood-stained Orchids.

Content-wise, Double Face is tame when compared to other Edgar Wallace Italian film adaptations. And though a key character dies early on in Double Face, there are no other deaths. The bulk of the narrative is spent following a bereaved husband who’s unable to shake off the specter of his dead wife. Fortunately, this scenario is full of possibilities, and in the hands of Riccardo Freda, he is able to create a haunting tale that, at times, is reminiscent of his work in the Gothic horror genre.

Double Face’s greatest asset is Klaus Kinski (Venus in Furs) in the role of a distraught husband named John Alexander. It is refreshing to see Klaus Kinski in a starring role and portraying a part that is opposite of the maniacal characters’ he’s most known for portraying. Other notable cast members include Christiane Krüger in the role of a mysterious stranger who holds the key to the answers John seeks; Sydney Chaplin (If You Meet Sartana, Pray for Your Death) in the role of Helen’s father; and Margaret Lee (Dorian Grey) in the role of John’s wife Helen. Though Margaret Lee has limited screen time, her character’s presence can be felt throughout the film.

From a production standpoint, there is no area where Double Face does not excel. The premise is superbly realized, and the well-executed narrative gives key moments an ample amount of time to resonate. And Nora Orlandi’s pitch-perfect score reinforces the Gothic-infused visuals. Ultimately, Double Face is a solid thriller that fans of the Giallo genre should thoroughly enjoy.

Double Face gets an excellent release from Arrow Video that comes with a solid audio/video presentation and a wealth of insightful extras, highly recommended.

Written by Michael Den Boer