The Black Belly of the Tarantula: Limited Edition – Celluloid Dreams (4k UHD/Blu-ray Combo)
Theatrical Release Date: Italy/France, 1971
Director: Paolo Cavara
Writers: Marcello Danon, Lucile Laks
Cast: Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rossella Falk, Silvano Tranquilli, Annabella Incontrera, Barbara Bach, Stefania Sandrelli, Giancarlo Prete
Release Date: August 20th, 2026
Approximate Running Times: 97 Minutes 53 Seconds (Domestic Cut), 87 Minutes 58 Seconds (International Cut)
Aspect Ratio: 1.37:1 Aspect Ratio / 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / HDR10 (Domestic Cut), 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Versions), 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: NR
Sound: DTS-HD Mono Italian Remastered (Both Versions), DTS-HD Mono Italian Unrestored (Both Versions), DTS-HD Mono English (Both Versions)
Subtitles: English (Both Versions), English SDH (Both Versions)
Region Coding: Region Free (4K UHD), Region A (Blu-ray)
Retail Price: $65.95
"A serial killer has Rome on edge! Paralyzing his victims, then proceeding to slice them open before their own eyes, this sadistic maniac must be stopped! Conflicted, burned-out, and feeling overwhelmed, Inspector Tellini must find the madman before he claims another victim in a case that edges closer and closer to his personal life." - synopsis provided by the distributor
Video: 5/5 (4K UHD, Blu-ray)
Here’s the information provided about this release's transfer, “Scanning of the original 4-perf 35mm camera negative in 4K resolution was completed by VIGGO in Rome.
Lucas Henkel and Guido Henkel performed the color grading and restoration entirely in-house at Celluloid Dreams. Thousands of instances of dirt, debris, scratches, picture instability, torn frames, water damage, and other instances of film wear were repaired or removed through a combination of digital restoration tools and techniques. Celluloid Dreams is using Phoenix Restoration Tools by Filmworks.
The HDR grade for this release was prepared referencing a theatrical release positive print that was also located and scanned for this restoration. Further, additional fade corrections were performed in reference to a Japanese VHS-sourced print telecine that was digitized using a Domesday Duplicator. Whilst shot-by-shot corrections were applied to match the original photochemical timing, minor liberties were taken on occasion to help create a more balanced and cohesive viewing experience between shots, scenes, and reels.
For archival purposes, alongside the restored negative master, an uncorrected positive print scan is also included as the “Grindhouse Version,” purely as an academic and archival oddity.
The international export cut was conformed in reference to an incomplete English CRT element transfer provided by VIGGO and a Spanish standard-definition transfer of an intermediate element. In the process, numerous previously missing frames have been restored.
All original film negative and intermediate elements used in this restoration were provided by VIGGO, Rome.”
The Black Belly of the Tarantula comes on a 100 GB triple layer 4K UHD.
Disc Size: 89.1 GB
Feature: 46.9 GB (1.85:1 Aspect Ratio), 39.7 GB (1.37:1 Aspect Ratio)
The included booklet gives a detailed overview of the source and its restoration. That said, the source looks outstanding; it's a massive improvement over all previous home video releases. Flesh tones look healthy, colors are nicely saturated, image clarity, black levels, contrast, and compression are solid, and the image always looks organic.
The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.
Disc Size: 45.3 GB
Feature: 24.9 GB (1.37:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.37:1 Aspect Ratio - International Cut)
The Blu-ray uses the same source as the 4K UHD does for its transfer.
The Black Belly of the Tarantula comes on a 50 GB dual layer Blu-ray.
Disc Size: 34.9 GB
Feature: 25 GB (1.85:1 Aspect Ratio - Domestic Cut), 19.1 GB (1.85:1 Aspect Ratio - International Cut)
The Blu-ray uses the same source as the 4K UHD does for its transfer.
Audio: 5/5 (DTS-HD Mono Italian Remastered, DTS-HD Mono English), 3.5/5 (DTS-HD Mono Italian Unrestored)
This release comes with three audio options, a remastered DTS-HD mono mix in Italian, an unrestored DTS-HD mono mix in Italian, and a DTS-HD mono mix in English. The audio, like the video, has undergone extensive restoration, and the inclusion of the unrestored track showcases just how much work was done. The remastered Italian and English-language track sounds excellent. Dialogue always comes through clearly, everything sounds balanced, and ambient sounds and the score are well-represented. That said, the Italian-language tracks sound slightly fuller than the English-language track. Included are removable English subtitles for the Italian language track and removable English SDH for the English language track. Language tracks and subtitles can only be changed via the setup menu and not during playback.
Extras:
Extras on the 4K UHD disc include an audio commentary with film critic Guido Henkel for the domestic cut.
Extras on Blu-ray disc one include an audio commentary with Henkel for the domestic cut.
Extras on Blu-ray disc two include an audio commentary with Henkel for the domestic cut.
Extras on Blu-ray disc three include an image gallery (56 images—posters/lobby cards/publicity photos/miscellaneous/newspaper articles/adverts), an English-language theatrical trailer (1 minute 56 seconds, DTS-HD mono English, no subtitles), a German-language theatrical trailer (3 minutes 34 seconds, DTS-HD mono German with non-removable English subtitles), a U.S. TV spot with The Weekend Murders (1 minute 3 seconds, DTS-HD mono English, no subtitles), a ‘Grindhouse Version’ of the U.S. TV spot with The Weekend Murders (1 minute 2 seconds, DTS-HD mono English, no subtitles), censored Japanese VHS clips (24 seconds, DTS-HD mono with text in Japanese, no English subtitles), an archival interview with director Paolo Cavara's son, Pietro Cavara (4 minutes 54 seconds, DTS-HD stereo Italian with non-removable English subtitles), an archival interview with producer Marcello Danon's son, Lorenzo Danon (16 minutes 6 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with Pietro Cavara titled The World of Paolo Cavara (22 minutes 16 seconds, DTS-HD stereo Italian with non-removable English subtitles), an interview with soprano Edda Dell'Orso titled Made-up Words (25 minutes 12 seconds, DTS-HD stereo Italian with non-removable English subtitles), a video essay by Andy Marshall-Roberts titled What a Tangled Web We Weave: The Prestige of Paolo Cavara’s The Black Belly of the Tarantula (20 minutes 50 seconds, DTS-HD stereo English, no subtitles), a video essay by Howard S. Berger titled The Uncanny Peephole (22 minutes 35 seconds, DTS-HD stereo English, no subtitles), and a ‘Grindhouse Version’ of The Black Belly of the Tarantula from 35mm theatrical print (84 minutes 57 seconds, 1.37:1 aspect ratio, 1080 Progressive, DTS-HD mono Italian with non-removable English subtitles).
Other extras include reversible cover art, a slipcase, a set of reprints of 16 publicity photographs from the original American press materials, a set of 6 beautifully restored 12″x8.25″ color reproductions of the original Italian fotobuste, and an 80-page book with cast & crew information, an essay titled Spinning a Different Kind of Web with The Black Belly of the Tarantula written by Jim Branscome, an essay titled Inside The Black Belly of the Tarantula written by JA Kerswell, a collection of Then/Now location photographs by Andrea Girolami titled Revisiting the Belly of the Beast!, and information about the restoration.
Summary:
Paola Cavara directed The Black Belly of the Tarantula. He’s known for Mondo Cane, Women of the World, The Wild Eye, and Plot of Fear.
Maria arrives home one day to find her jealous husband holding photos of her and another man having an affair. After hitting her a few times, he leaves the apartment in a rage. Later that evening, Maria is murdered, and the police soon suspect her hot-tempered husband. Inspector Tellini is assigned to the case and every time he finds a lead, they end up dying. Will Inspector Telling uncover the killers’ identity before they destroy all the evidence and disappear forever?
While there had been Italian thrillers before Dario Argento’s The Bird With the Crystal Plumage, there’s no denying it is a seminal film that spanned countless imitations. In the early 1970s, after the success of The Bird With the Crystal Plumage, there was an onslaught on movies that featured an animal in their title. That said, Dario Argento’s influences aside, The Black Belly of the Tarantula feels more like an extension of Mario Bava’s Blood and Black Lace.
Paolo Cavara started his career directing or co-directing the highly controversial documentaries Mono Cane and Women of the World. Where his collaborators Gualtiero Jacopetti and Franco Prosperi would continue to make Mondo films, Paolo Cavara would venture out in feature films. Although Paolo Cavara directed in a variety of genres, he’s most known for his two gialli, The Black Belly of the Tarantula and Plot of Fear.
For this release, The Black Belly of the Tarantula can finally be seen in its intended 1.37:1 aspect ratio, and when compared to its alternate 1.85:1 aspect ratio, the differences are striking. Where 1.85:1 feels too cramped, The Black Belly of the Tarantula’s use of wide-angle lenses really comes out in 1.37:1, enhancing a feeling of claustrophobia. That said, Paolo Cavara’s direction is exemplary; he fills every inch of the screen with compositions that heighten the mood.
When it comes to the performances, the entire cast are excellent in their roles, especially Giancarlo Giannini's (The Seduction of Mimi) portrayal of Inspector Tellini. His character's doubts about his ability as an inspector and willingness to walk away are what make his performance so compelling. Where most gialli feature amateurs who solve the murders, The Black Belly of the Tarantula is a rare example where law enforcement drives the narrative.
Giancarlo Giannini is surrounded by a cast of whos-whos of 1970s Italian genre cinema: Claudine Auger (Thunderball), Annabella Incontrera (The Case of the Bloody Iris), Silvano Tranquilli (The Bloodstained Butterfly), Barbara Bach (Short Night of Glass Dolls), and Barbara Bouchet (Don’t Torture a Duckling). Though Barbara Bouchet only has limited screentime (her character is the first victim), she makes the most of her time. Another performance of note is Stefania Sandrelli (I Knew Her Well), who portrays Inspector Tellini’s wife.
While the murder set pieces are a main draw of the giallo, the best and most memorable have well-crafted narratives that quickly grab you and always keep you guessing. That said, The Black Belly of the Tarantula is incredibly successful in both of these regards. Another strength of the narrative is how well it conceals the killer's identity and how it brings everything into focus with the revelation of why they did it.
The animal named in the film's title, The Black Belly of the Tarantula, ties into the method the killer uses to paralyze its victims. The killer uses a needle as the base of the victim's neck to paralyze them and then they flip them open and cut their stomach open. Out of all the ways killers have disposed of their victims, this method of killing is one of the most original.
When discussing The Black Belly of the Tarantula, one must not overlook Ennio Morricone's extraordinary score. While Ennio Morricone had delivered so many outstanding scores, his score for The Black Belly of the Tarantula is among his best works. Ultimately, The Black Belly of the Tarantula is an intense thriller that’s overflowing with atmosphere, making it one of the high-water marks of 1970s giallo cinema.
The Black Belly of the Tarantula gets a spectacular release from Celluloid Dreams that comes with a solid audio/video presentation and a wealth of insightful extras. Highly recommended.
Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.
Written by Michael Den Boer
