Slap the Monster on Page One: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy, 1972
Director: Marco Bellocchio
Writers: Sergio Donati, Goffredo Fofi
Cast: Gian Maria Volontè, Fabio Garriba, Carla Tatò, Jacques Herlin, John Steiner, Michel Bardinet, Jean Rougeul, Corrado Solari, Laura Betti

Release Date: November 18th, 2024 (UK), November 19th, 2024 (USA)
Approximate running time: 87 minutes 15 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK), NR (USA)
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"Days before a general election a young girl is raped and murdered. Bizanti (Gian Maria Volonté, The Working Class Goes to Heaven), the editor of a right-wing newspaper uses the story to help the conservative candidate his paper supports. The tumultuous time of Italy’s ‘Years of Lead’ are captured in Marco Bellocchio’s powerful political drama which directly addressed topics of its day and even prefigured the creation of the right-wing paper Il giornale, which came into being two years after this film.” – Synopsis provided by the Distributor

Video: 5/5

Here’s the information provided about the transfer, “Slap the Monster on Page One was restored in 4K resolution from the original negative by Cineteca di Bologna in collaboration with Surf Film and Kavac Film, under the supervision of director Marco Bellocchio.”

Slap the Monster on Page One comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.1 GB

Feature: 25.2 GB

The opening moments of the film use what appears to be stock footage. The opening moments are not representative of the rest of the film, which looks excellent. Colors look correct, black levels are strong, image clarity and compression are solid, and the image retains an organic look.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. This audio track sounds great; dialog always comes through clearly, everything sounds balanced, and the score sounds appropriately robust.

Extras:

Extras for this release include an appreciation by filmmaker Alex Cox (9 minutes 53 seconds, LPCM stereo English, no subtitles), an interview with critic and author Mario Sesti (24 minutes 47 seconds, LPCM stereo Italian with removable English subtitles), an archival interview with director Marco Bellocchio (19 minutes 39 seconds, LPCM stereo Italian with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 3000 copies) cast & crew information, an essay titled Say ‘Yes’ to the Freedom of Order: Fake News in The Years of Lead written by Wesley Sharer, and information about the transfer.

Summary:

Marco Bellocchio directed the film Slap the Monster on Page One. His other notable films are Fist in the Pocket and Devil in the Flesh.

During an election, a right-wing newspaper editor uses the rape and murder of a young girl to further his agenda.

Slap the Monster on Page One is a perfect example of a film being more relevant than ever. It is a film that takes place during a tumultuous election; there is political unrest, excessive force by the police, and political corruption. At the center of all of these things is the media, who are manipulating the news to the outcome they desire.

Though some believe that media manipulation is a modern phenomenon, it is something that has always existed. There was a time when they were good at hiding their agenda; now it's not so much a search for truth as it is crafting a story. That said, a lot is put into crafting a headline, since many readers put a lot of effort into reading beyond it.

Though a young woman’s death is at the center of Slap the Monster on Page One, getting to the truth about what happened to her is not where most of the characters focus. Those in power exploit her death to further their worldview. And when confronted with the truth, they turn a blind eye because they have already dug in with the reality they created.

The entire cast is outstanding, especially Gian Maria Volontè’s (Investigation of a Citizen Above Suspicion) portrayal of a new editor, Giancarlo Bizanti, a ruthless, cold-hearted manipulator. Though Gian Maria Volontè's character does not have any of the loud outbursts he’s so great at delivering, he’s always had a menacing quality about him, even when he’s restrained. That said, Gian Maria Volontè's performance elvates what is already compelling subject matter.

From its opening moments there is an intensity that builds to a fever pitch by its unforgettable finale. The narrative executes effectively; we give key moments sufficient time to resonate and maintain a flawless pacing. Another strength is composer Nicola Piovani’s (The Perfume of the Lady in Black) exceptional mood-reinforcing score.

Propaganda is all around us, and when perfectly executed, it often goes unnoticed. It is fitting that Slap the Monster on Page One, a film about propaganda, also has its own slant. Its director, Marco Bellocchio, infused his left-wing ideology throughout his filmography. Fortunately, Marco Bellocchio's political leanings never impede the story being told. Ultimately, Slap the Monster on Page One is a powerful film no matter where you line up politically.

Slap the Monster on Page One gets an excellent release from Radiance Films that comes with a solid audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

We Still Kill the Old Way: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy, 1967
Director: Elio Petri
Writers: Elio Petri, Ugo Pirro
Cast: Gian Maria Volontè, Irene Papas, Gabriele Ferzetti, Laura Nucci, Mario Scaccia, Luigi Pistilli, Leopoldo Trieste, Salvo Randone

Release Date: September 23rd, 2024 (UK)
Approximate running time: 93 minutes 35 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 12 (UK)
Sound: DTS-HD Mono Italian, DTS-HD Mono English
Subtitles: English, English SDH
Region Coding: Region B
Retail Price: £14.99 (UK)

"After two men are killed on a hunting trip, a lonely professor (Gian Maria Volonté, The Working Class Goes to Heaven), takes it upon himself to investigate what he believes was not a simple honor killing. As his search intensifies, politics and the Church become implicated in a complex conspiracy orchestrated by a powerful criminal organization.” – Synopsis provided by the Distributor

Video: 4.5/5

Here’s the information provided about the transfer, “We Still Kill the Old Way was restored by the Museo Nazionale del Cinema di Torino and Movietime. The film was scanned in 4K from the original camera negative and restoration was undertaken at Studio Cine in Rome, Italy. The restoration was made possible with the support of Giovanna Gravina Volontè, founder of La Valigia dell’Attore, as well as co-artistic director with Fabio Canu, and supported by Paola Petri, Sergio Toffetti, president of the National Cinema Museum of Turin.”

We Still Kill the Old Way comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.2 GB

Feature: 25.2 GB

The source is in great shape; colors look correct, image clarity and compression are solid, black levels are strong, and the image retains an organic look.

Audio: 4.25/5 (DTS-HD Mono Italian, DTS-HD Mono English)

This release comes with two audio options, a DTS-HD mono mix in Italian and a DTS-HD mono mix in English. Both audio tracks sound clean, clear, and balanced. Range-wise, they sound robust when they should. 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 a theatrical trailer (3 minutes 32 seconds, Dolby Digital mono Italian with removable English subtitles), an interview with Fabrizio Catalano, grandson of author Leonardo Sciascia (31 minutes 21 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with make-up artist Pier Antonio Mecacci titled Once Upon a Time in Sicily (29 minutes 1 second, Dolby Digital stereo Italian with removable English subtitles), an interview with Roberto Curti, author of Elio Petri: Investigation of a Filmmaker titled To Each His Own (22 minutes 44 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival documentary titled Talking About… We Still Kill the Old Way, featuring interviews with writer Ugo Pirro, composer Luis Bacalov and Paola Petri (31 minutes 33 seconds, Dolby Digital stereo Italian with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet (limited to 3000 copies) cast & crew information, Director’s Statement, an essay titled Of Things Best Left in the Dark, or Why do We Still Kill the Old Way written by David Wingrove, and information about the transfer.

Summary:

We Still Kill the Old Way was co-written and directed by Elio Petri, whose other notable films include The Assassin (L'assassino), The 10th Victim, A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, Property Is No Longer a Theft, and The Working Class Goes to Heaven.

A professor questions the evidence against three men arrested for the double homicide. And when he gets closer to the truth, he upsets some very powerful people, putting his own life in danger.

By the time Elio Petri directed We Still Kill the Old Way, he had directed four feature films and two segments for anthology films. Though he’s a filmmaker whose films are known for their social and political commentary, his early films are not as overt in these two areas. This brings us to We Still Kill the Old Way, a film that serves as a bridge between his more standard fare films and the social and political laced cinema that defines the latter half of his filmography.

The Mafia are central to most Italian crime films, and though they are in We Still Kill the Old Way, they’re not the focal point. And though a double homicide sets the narrative in motion, We Still Kill the Old Way has minimal carnage, with the only other killing not happening until the finale. That said, at the heart of We Still Kill the Old Way is a story about the power that the wealthy and politicians hold and how they use their status to subvert justice.

All of the performances are outstanding, especially Gian Maria Volontè’s (For a Few Dollars More) portrayal of Paolo Laurana, the professor looking into things better left alone. He is perfectly suited to the role of his character. Gian Maria Volontè was an actor known for his left-wing political leanings. Another performance of note is Gabriele Ferzetti’s (Once Upon a Time in the West) portrayal of an affluent lawyer.

What starts off as a whodunit becomes more about the why than the who. Despite there being an array of suspects to choose from, when the moment of truth arrives, it no longer matters. In the final moments, it became clear that we used Paolo Laurana as a means to achieve a predetermined outcome.

In making a mafia crime film, Elio Petri utilizes familiar genre elements in a way that is uniquely his own. The narrative is well-constructed, pacing is never an issue, and a phenomenal finale serves as a perfect coda. The visuals, which are filled with beautiful landscapes, are another strength. Also, Luis Bacalov (Django) delivers another exemplary mood-enhancing score. Ultimately, We Still Kill the Old Way is a tense drama that quickly pulls you in and stays with you long after its moment of truth.

Radiance Films gives We Still Kill the Old Way an exceptional release that comes with a solid audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

The Working Class Goes to Heaven: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy, 1971
Director: Elio Petri
Writers: Elio Petri, Ugo Pirro
Cast: Gian Maria Volontè, Mariangela Melato, Gino Pernice, Luigi Diberti, Corrado Solari, Flavio Bucci, Nino Bignamini, Alberto Fogliani, Carla Mancini, Orazio Stracuzzi

Release Date: January 2nd, 2023 (UK)
Approximate running time: 115 Minutes 18 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Mono Italian
Subtitles: English
Region Coding: Region B
Retail Price: OOP

"Gian Maria Volonté (A Fistful of Dollars), stars in one of provocative filmmaker Elio (Investigation of a Citizen Above Suspicion) Petri's most politically charged films as factory worker Lulu: a man on the verge of a nervous breakdown. Too tired to sleep with his girlfriend, cut out of his son’s life by his ex, humiliated and disrespected, Lulu turns revolutionary following an accident at work." - synopsis provided by the distributor

Video: 5/5

Here’s the information provided about the transfer, “The Working Class Goes to Heaven was scanned in 2K from an interpositive and restored and color graded by Studio Cine, Rome in 2020. Additional color correction was performed by Radiance Films in 2022 with a video transfer of a 35mm print used as a color reference.”

The Working Class Goes to Heaven comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 31.4 GB

The source used for this transfer is in excellent shape. Colors are nicely saturated, flesh tones look healthy, image clarity, contrast, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Italian, and included are removable English subtitles. The audio sounds clean, clear, and balanced. Range-wise, things sound very good.

Extras:

Extras for this release include a theatrical trailer (3 minutes 39 seconds, Dolby Digital mono Italian with removable English subtitles), an archival documentary titled The Working Class Goes to Heaven - Background to a Film Shot in Novara (49 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), a video essay by scholar Matthew Kowalski titled Petri's Praxis: Ideology and Cinema in Post-war Italy (20 minutes 38 seconds, Dolby Digital stereo English, no subtitles), an appreciation of Gian Maria Volonté and The Working Class Goes to Heaven by filmmaker Alex Cox (10 minutes 10 seconds, Dolby Digital stereo English, no subtitles), an archival interview with actor Corrado Solari (15 minutes 3 seconds, Dolby Digital stereo Italian with removable English subtitles), a career-encompassing archival interview with Gian Maria Volonté from French TV (35 minutes 13 seconds, Dolby Digital mono French and Italian with removable English subtitles), an archival interview with Elio Petri from the Cannes Film Festival (6 minutes 38 seconds, Dolby Digital mono French with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 56-page booklet (limited to 2000 copies) cast & crew information, an essay titled La Classe Operaia Va in Paradiso written by Eugenio Renzi, an essay titled Of Broken Toes and Malfunctioning Gears written by Roberto Curti, Excerpt From: “Unifying Function of The Classical Scene” written by Pascal Kane, interview with Elio Petri, a contemporary review of The Working Class Goes to Heaven titled The Working Class Goes Directly to Heaven, Without Passing Go: or, The Name of the Game is Still Monopoly written by James Roy Macbean, and information about the transfer.

Summary:

The Working Class Goes to Heaven was co-written and directed by Elio Petri, whose other notable films include The Assassin (L'assassino), The 10th Victim, A Quiet Place in the Country, Investigation of a Citizen Above Suspicion, and Property Is No Longer a Theft. The Working Class Goes to Heaven is the second film in a trilogy of films called Trilogy of Neurosis; the other two films are Investigation of a Citizen Above Suspicion and Property Is No Longer a Theft.

The Working Class Goes to Heaven firmly establishes its mood with its stark white and black opening credits, with Ennio Morricone’s piercing main theme in the background. What unfolds is a condemnation of capitalism and its negative effects on the working class.

Gian Maria Volonté (for a few dollars more) has been cast in the role of Ludovico "Lulù" Massa, an arrogant worker who is hated by his co-workers for being too efficient. He delivers another spectacular performance that dominates every scene. And when Lulu loses his finger in a workplace accident, he does a superb job conveying Lulu’s struggles due to his injury. That said, there is no performance that is lacking.

As mentioned before, Ennio Morricone’s score plays a significant role. Throughout his career, Ennio Morricone worked with a few of Italy's more prominent filmmakers. And though it is always easy to recognize one of his scores within a few seconds, the thing that is most impressive about his scores is how he created a unique sound for each of the prominent filmmakers he worked with. His score for The Working Class Goes to Heaven also incorporates industrial sounds, which fit perfectly within the factory setting.

From a production standpoint, The Working Class Goes to Heaven is a film where everything falls into place. The premise is executed with the utmost precision, and a well-crafted narrative does a superb job building towards an exceptional ending that puts an exclamation mark on the events that proceeded. Also, Elio Petri’s direction lets the performances take center stage, while the visuals and Ennio Morricone's score create a hypnotic rhythm. Ultimately, The Working Class Goes to Heaven is an extraordinary exploration of the exploitation of the working class.

The Working Class Goes to Heaven gets a definitive release from Radiance Films, highly recommended.

Written by Michael Den Boer

Face to Face – Kino Lorber (Blu-ray)

Theatrical Release Date: Italy, 1967
Director: Sergio Sollima
Writers: Sergio Sollima, Sergio Donati
Cast: Gian Maria Volontè, Tomas Milian, William Berger, Jolanda Modio, Gianni Rizzo, Carole André, Ángel del Pozo, Aldo Sambrell

Release Date: August 18th, 2015
Approximate running time: 93 Minutes  30 Seconds (U.S. Version)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (U.S. Version)
Rating: NR
Sound: DTS-HD Mono English (U.S. Version)
Subtitles: N/A
Region Coding: Region A
Retail Price: OOP

"Upstanding history professor Brad Fletcher (Gian Maria Volonte, A Fistful of Dollars, For a Few Dollars More) is forced into retirement by his poor health and moves west for the warmer climate. As soon as he arrives, he is taken hostage by famed bandit Solomon Bennett (Tomas Milian, Companeros, Tepepa) in an accidental confrontation, and by necessity is forced to take up with his cohorts." - synopsis provided by the distributor

Video: 3.75/5 (U.S. Version)

Face to Face comes on a 25 GB single layer Blu-ray.

Disc Size: 22.4 GB

Feature: 18.2 GB (U.S. Version), 3.7 GB (Italian Version)

The source used for the U.S. version transfer is in very good shape, and any print-related debris is minimal. Colors look very good, black levels fare well, details generally look crisp, there are no issues with compression, and grain remains intact.

Audio: 3.25/5 (U.S. Version)

The U.S. version comes with one audio option, a DTS-HD mono mix in English. This audio mix sounds clean, and the dialog comes through clearly. Range-wise, though the ambient sounds are well-represented, there are instances where the audio sounds flat.

Extras:

Extras for this release include a theatrical trailer for Navajo Joe (1 minute 51 seconds, DTS-HD mono English, no subtitles) and the Italian theatrical version of Face to Face (112 minutes 2 seconds, standard definition, 2.35:1 aspect ratio, Dolby Digital mono Italian with non-removable English subtitles).

Summary:

Sergio Sollima might as well be known as the other Sergio (Leone), since his films never received the wide release and acclaim that two of his contemporaries, Sergio Leone and Sergio Corbucci, did. Sergio Sollima made his first western, The Big Gundown, at the height of the spaghetti western genre, and he would direct his third and last western, Run Man Run, a few years later, as the genre started its long, agonizing demise.

Tomas Milian portrays a wanted man named Solomon "Beauregard" Bennet. He delivers a multifaceted performance that does a superb job conveying his character's growth from a cold-blooded killer to a man with a conscience. Though this is another solid performance from Tomas Milian, his performance is ultimately overshadowed by Gian Maria Volonté's brilliant portrayal of Professor Brad Fletcher.

Gian Maria Volonte, who was frequently cast as villains or as imposing characters. In Face to Face, he gets to portray a character that’s actually closer to his real personality. Gian Maria Volonte’s other spaghetti westerns include A Fistful of Dollars, For a Few Dollars More, and A Bullet for the General.

Gian Maria Volontè and Tomas Milian make perfect foes for each other as the two characters that couldn’t be more night and day, and ultimately, they transform into what the other used to be. in particular Gian Maria Volontè’s disturbing transformation in one of cinema’s role reversals.

Face to Face’s pivotal moment is a scene where Brad Fletcher becomes infatuated with a woman named Maria, who belongs to one of Beauregard’s men. One day, he stumbles upon Maria, who has just finished bathing in the river. Watching her from afar, he’s overcome with lust as he chases her down and rapes her. This is the crucial moment when we see his inner beast for the first time. Where he was once frail, he has become invigorated by the power he commands when he assumes control of Beauregard’s former gang.

Sergio Sollima expands his wings as a director with Face to Face, as he enhances themes and visuals that he had originally explored in The Big Gundown. The showpiece of Face to Face is a bank robbery sequence where everything appears to fall into place perfectly, until a young Mexican boy recognizes Beauregard, which sets in motion a fury of gunfire that ultimately kills most of the robbers and the young Mexican boy. What is most interesting about this scene is that instead of trying to escape or help his amigo, Beauregard is more concerned about the young Mexican boy whose lifeless body lays in his arms. Tomas Milian provides the most memorable moment of his career during this moment of clarity. Ultimately, Face to Face is the best of the three spaghetti westerns Sergio Sollima directed.

Face to Face gets a good release from Kino Lorber that comes with two versions of the film. That said, though this release leaves plenty of room for improvement, it will have to do until a better release comes along.

                                                     Italian Version Screenshots.

Written by Michael Den Boer

Gothic Fantastico: Four Italian Tales of Terror – Arrow Video (Blu-ray)

Theatrical Release Dates: Italy, 1965 (Lady Morgan's Vengeance), Italy, 1963 (The Blancheville Monster), Italy, 1966 (The Third Eye, The Witch)
Director: Massimo Pupillo (Lady Morgan's Vengeance), Alberto De Martino (The Blancheville Monster), Mino Guerrini (The Third Eye), Damiano Damiani (The Witch)
Cast: Gordon Mitchell, Erika Blanc, Paul Muller, Barbara Nelli, Michel Forain, Carlo Kechler, Edith MacGoven (Lady Morgan's Vengeance), Gérard Tichy, Leo Anchóriz, Ombretta Colli, Helga Liné, Irán Eory, Vanni Materassi (The Blancheville Monster), Franco Nero, Gioia Pascal, Erika Blanc, Olga Solbelli, Marina Morgan, Gara Granda (The Third Eye), Richard Johnson, Rosanna Schiaffino, Gian Maria Volontè, Sarah Ferrati, Margherita Guzzinati, Vittorio Venturoli, Ivan Rassimov (The Witch)

Release Date: October 17th, 2022 (UK), October 18th, 2022 (USA)
Approximate Running Times: 86 Minutes 1 Second (Lady Morgan's Vengeance), 88 Minutes 7 Seconds (The Blancheville Monster), 87 Minutes 7 Seconds (The Third Eye), 109 Minutes 22 Seconds (The Witch)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (All Films)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Italian (All Films), LPCM Mono English (The Blancheville Monster, The Third Eye, The Witch)
Subtitles: English (All Films), English SDH (The Blancheville Monster, The Third Eye, The Witch)
Region Coding: Region A,B
Retail Price: £69.99 (UK), $99.95 (USA)

"While groundbreaking director Mario Bava (Black Sunday, Black Sabbath) remains the most well-known purveyor of Italian Gothic horror, many other filmmakers tried their hand at the form throughout the 1960s as part of a hugely prolific and popular cycle. Gothic Fantastico presents four off-the-beaten path titles from this classic period, all of which demonstrate Italy's ability to expand genre beyond the classic literary monsters that dominated elsewhere.

Gaslighting abounds in Massimo Pupillo's Lady Morgan's Vengeance – a delicate tale of romance and mystery, with a sprinkling of sadism and the supernatural – as newlywed Sir Harold Morgan (Paul Muller, Nightmare Castle) attempts to destroy his new bride (Barbara Nelli, Double Face) with help from his sinister maid (Erika Blanc, Kill, Baby… Kill!). Meanwhile, the perverse influence of Poe is used to great effect in Alberto De Martino's The Blancheville Monster – a tale of family curses and madmen in the attic, as Emilie de Blancheville (Ombretta Colli, Gladiator of Rome) returns home to her brother Roderic (Gérard Tichy, Hatchet for the Honeymoon) and discovers her own family may be out for her blood. Mino Guerinni's The Third Eye features not only a very early role for Italian cult film icon Franco Nero, but a plot that borrows several elements from Hitchcock, layered with a whiff of necrophilia. Finally, Damiano Damiani's The Witch takes a more avant-garde approach, when a young historian (Richard Johnson, Zombie Flesh Eaters) is lured to work for an ageing woman, only to be held captive when he becomes obsessed with her beautiful daughter (Rosanna Schiaffino, The Killer Reserved Nine Seats)." - synopsis provided by the distributor

Video: 4.5/5 (Lady Morgan's Vengeance), 5/5 (The Blancheville Monster, The Third Eye, The Witch)

Here’s the information provided about the transfers, "The original 35mm camera negatives for The Blancheville Monster, The Third Eye and The Witch were scanned and restored in 2K resolution at L’Immagine Ritrovata, Bologna. The films were graded at R3Store Studios, London.

The original 35mm camera negative for Lady Morgan's Vengeance was scanned in 2K resolution at Cinema Communications Services, Rome. Grading and restoration were completed at R3Store Studios, London.

All original materials used for the restorations of The Blancheville Monster, The Third Eye and The Witch were made available from Movietime.

All original materials used for the restoration of Lady Morgan's Vengeance were made available from Variety."

Lady Morgan's Vengeance comes on a 50 GB dual layer Blu-ray.

Disc Size: 45 GB

Feature: 24.8 GB

The Blancheville Monster comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.9 GB

Feature: 25.4 GB

The Third Eye comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.2 GB

Feature: 25 GB

The Witch comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 32.6 GB

The sources used for these film transfers are in great shape. The Blancheville Monster, The Third Eye, and The Witch share many of the same qualities. The transfers for these three films have solid image clarity, contrast, gray levels, and shadow detail. There are no issues with compression, and they all retain an organic look. The transfer for Lady Morgan's Vengeance has some minor instances of print debris and a few moments where contrast fluctuates. That said, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.25/5

The Blancheville Monster, The Third Eye, and The Witch each come with two audio options, a LPCM mono mix in Italian and a LPCM mono mix in English.

The Blancheville Monster, The Third Eye, and The Witch each come with two removable subtitle options: English for the Italian language track, and English SDH subtitles for the English language track.

Lady Morgan's Vengeance comes with one audio option, a LPCM mono mix in Italian, and included with this film are removable English subtitles.

All of the audio mixes included for these films sound clean, clear, and balanced. Range-wise, ambient sounds are well-represented, and the score sounds appropriately robust. When it comes to range and clarity, the differences between the Italian and English language tracks are minimal.

Extras:

Extras for Lady Morgan's Vengeance include an image gallery (8 images-posters/lobby cards), a theatrical trailer (2 minutes 24 seconds, Dolby Digital mono Italian with removable English subtitles), the complete original cineromanzo, published in Suspense in April 1971 (57 images), a newly edited archival audio interview with director Massimo Pupillo titled The Pupillo Tapes (20 minutes 16 seconds, Dolby Digital stereo Italian with removable English subtitles), a newly edited archival interview with actor Paul Muller titled Born to be a Villain (20 minutes 3 seconds, Dolby Digital stereo French with removable English subtitles), an interview with actress Erika Blanc titled When We Were Vampires (24 minutes 4 seconds, Dolby Digital stereo Italian with removable English subtitles), an introduction by Italian film devotee Mark Thompson Ashworth titled Vengeance from Beyond (4 minutes 38 seconds, Dolby Digital stereo English, no subtitles), a visual essay by author and producer Kat Ellinger titled The Grudge (21 minutes 29 seconds, Dolby Digital stereo English With removable English subtitles for Italian dialog), and an audio commentary with author and critic Alexandra Heller-Nicholas.

Extras for The Blancheville Monster include an image gallery (2 posters), a theatrical trailer (4 minutes 16 seconds, Dolby Digital mono Italian with removable English subtitles), American opening titles (3 minutes 11 seconds, Dolby Digital mono), an interview with author and filmmaker Antonio Tentori titled Welcome to the Manor (13 minutes 55 seconds, Dolby Digital stereo Italian with removable English subtitles), an introduction by Italian film devotee Mark Thompson Ashworth titled Castle of Horror (6 minutes 49 seconds, Dolby Digital stereo English, no subtitles), a visual essay by writer and pop culture historian Keith Allison titled Are You Sure That It Wasn’t Just Your Imagination? (20 minutes 54 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with filmmaker and film historian Paul Anthony Nelson.

Extras for The Third Eye include an image gallery (4 images-poster/lobby cards), a newly edited archival interview with actress Erika Blanc titled All Eyes on Erika (15 minutes 40 seconds, Dolby Digital stereo Italian with removable English subtitles), an introduction by Italian film devotee Mark Thompson Ashworth titled The Cold Kiss of Death (6 minutes 15 seconds, Dolby Digital stereo English, no subtitles), a visual essay by author and filmmaker Lindsay Hallam titled Nostalgia Becomes Necrophilia (12 minutes, Dolby Digital stereo English, no subtitles), and an audio commentary with author and critic Rachael Nisbet.

Extras for The Witch include an image gallery (5 images-still/posters/other promotional materials), an interview with author and filmmaker Antonio Tentori titled The Rome Witch Project (18 minutes 38 seconds, Dolby Digital stereo Italian with removable English subtitles), an introduction by Italian film devotee Mark Thompson Ashworth titled Witchery (3 minutes 46 seconds, Dolby Digital stereo English, no subtitles), a visual essay by author and academic Miranda Corcoran titled Loving the Devil (24 minutes 25 seconds, Dolby Digital stereo English, no subtitles), and an audio commentary with Kat Ellinger.

Other extras include reversible cover art for each film, a fold-out double-sided poster, and a eighty-page booklet (limited to the box set) with cast & crew information for each film, an essay titled An Experiment in Terror: An Introduction to the Italian Gothic written by Roberto Curti, an essay titled Ghouls and Gaslighting: Lady Morgan's Vengeance written by Rob Talbot, an essay titled Italian Gothic Goes Corman… and a Bit Further:The Blancheville Monster written by Jerome Reuter, an essay titled Birth of a Monster: The Third Eye written by Rod Barnett, an essay titled Secrets and Transgressions: The Witch written by Kimberly Lindbergs, and information about the restorations.

Summary:

Lady Morgan's Vengeance: Massimo Pupillo was a filmmaker who is most remembered for three horror films which he directed in 1965: Terror-Creatures from the Grave; Bloody Pit of Horror; and Lady Morgan's Vengeance. Besides these three films, most of his output consists of short films and documentaries.

Lady Morgan's Vengeance is a textbook example of Italian gothic horror cinema. From its opening moments, it establishes a foreboding tone that drives its narrative. The premise revolves around a protagonist named Lady Susan Morgan, who starts to question her sanity after a series of supernatural events. Is she losing her mind or is someone orchestrating her mental breakdown?

Like most Italian gothic horror films, Lady Morgan's Vengeance features a small cast, and most of the narrative takes place in one location. Nonetheless, the cast includes three familiar faces to fans of European cult cinema. Nightmare Castle starred Paul Muller (Nightmare Castle) in the role of the protagonist's husband, Sir Harold Morgan; Erika Blanc (Kill, Baby, Kill!) in the role of a housekeeper named Lillian; and Gordon Mitchell (The Giant of Metropolis) in the role of a butler named Roger.

Lady Morgan's Vengeance is Massimo Pupillo’s strongest of his three gothic horror films. Besides a strong cast and an abundance of atmosphere, Lady Morgan's Vengeance also features an ominous score composed by Piero Umilani (Five Dolls for an August Moon) that perfectly reinforces the mood. Ultimately, Lady Morgan's Vengeance is a solid Italian gothic horror film that fans of this genre should thoroughly enjoy.

The Blancheville Monster: Alberto De Martino was a versatile filmmaker who directed films throughout his career in whatever genre was in vogue in Italy at that time. Notable films directed by Alberto De Martino include Bandits in Rome, The Counselor, and The Antichrist. That said, The Blancheville Monster was Alberto De Martino’s only foray into Italian gothic horror.

Though The Blancheville Monster has all the elements that are synonymous with Italian gothic horror cinema, the result is one of the more pedestrian Italian gothic horror films that I have seen to date. That said, there are so many areas where the Blancheville Monster comes up short. And yet, when it comes to atmosphere, this is one area where the Blancheville Monster holds up well.

Reportedly, The Blancheville Monster is a loose adaptation of Edgar Allen Poe. More specifically, three Edgar Allen Poe stories: The Fall of the House of Usher, A Tale of the Ragged Mountains, and Some Words with a Mummy. Ultimately, The Blancheville Monster’s actual connection to Edgar Allen Poe is minimal.

When it comes to the performances, they are best described as adequate. With no performance standing out from the rest, the most notable cast member is Helga Liné (Nightmare Castle), who is a familiar face to anyone who's familiar with Euro-cult cinema.

The one thing that you quickly realize when watching Italian genre cinema from the 1960’s and 1970’s is how generic some of these films are. But there were always films which led to countless clones within these Italian genre film cycles. The further you got away from the films, the templates that established the foundation from which later films came forth, there was an obvious dilution in these later films in the cycle. A case in point: The Blancheville Monster, a film that has all the core elements and brings absolutely nothing new to the table.

The Third Eye: Though Mino Guerrini's career spanned three decades, he directed over twenty feature films. It is not surprising that he is not a filmmaker whose name is well remembered. Look at the other films he directed besides The Third Eye. Thirteen years after The Third Eye was unleashed on audiences, many of its elements would be recycled by Joe D'Amato for his film Beyond the Darkness.

Though The Third Eye has all of the elements that one would expect from an Italian gothic horror film, the result is a film that pushes boundaries further than any other Italian gothic horror film. Sure, Italian gothic horror cinema often delved into taboo areas, but with a film like The Third Eye, it is just on another level than its contemporaries.

The narrative revolves around a protagonist named Mino Alberti who lives with his overbearing mother, who smothers him, a housekeeper who secretly loves him, and his fiancée, who wants him to break free of his mother's influence. From there, he has a mental breakdown when his fiancée dies in a car accident, and shortly thereafter, after his mother's death, he spins further out of control. All the while, he has kept the corpse of his fiancée in a room only he has access to, and to further complicate things, his fiancée’s lookalike sister shows up one day.

The heart and soul of The Third Eye are the performances of its two leads: Franco Nero (Django) in the role of Mino Alberti, and Erika Blanc (The Devil's Nightmare) in the dual roles of sisters Laura and Daniela. That said, Franco Nero really stands out; his character bears many traits similar to Psycho’s Norman Bates. And he delivers an utterly convincing performance that perfectly captures his character's fractured state of mind. Also, the secondary cast members are very good in their roles.

From a production standpoint, there is not an area where The Third Eye does not excel. The premise is superbly realized, with a well-executed narrative that maintains tension and a very satisfying finale. Other strengths are striking visuals that have symbolic imagery and an abundance of atmosphere that is reinforced by Francesco De Masi’s (The New York Ripper) score. Ultimately, The Third Eye is a great example of Italian genre cinema that latches onto themes and elements from other films and creates something that stands apart from its influences.

The Witch: Damiano Damiani was a filmmaker whose films are known for their social commentary and political leanings. Notable films directed by Damiano Damiani include A Bullet for the General, Confessions of a Police Captain, and How to Kill a Judge.

Though gothic horror cinema was already on its last legs by 1966, along came a film like The Witch that goes against everything that one expects from an Italian gothic horror film. With its most noticeable difference being its setting, where most Italian gothic horror films are set in the 19th century, The Witch is a rare example of an Italian gothic horror film set in the present day. That said, though the setting has been changed, there is one area where The Witch retains its gothic horror roots: its striking visuals, which add greatly to the mood.

The narrative is like an endless loop where similar characters take the place of other characters. Also, there is an ambiguity to the narrative that never fully reveals the truth about a mother and her daughter who inhabit a decrepit old mansion. That said, the men who come to their home do so of their own free will. The longer they are in these two women’s presence, the more they are overcome with obsession that clouds their judgment.

The cast members all give excellent performances, particularly Sarah Ferrati in the role of the mother and Rosanna Schiaffino (The Killer Reserved Nine Seats) in the role of the alluring daughter who men fall in love with. Not to be overlooked are Richard Johnson (Zombie) in the role of the protagonist, a man named Sergio Logan, and Gian Maria Volontè (For a Few Dollars More) in the role of the man Sergio has been brought in to replace.

From its opening moments, The Witch creates an intoxicating atmosphere that quickly draws you into its web of deceit. Its well-executed premise is further enhanced by its hypnotic pacing, and a very satisfying finale brings resolution to the events that preceded. Another strength is Luis Bacalov’s (The Designated Victim) exceptional score, which perfectly reinforces the mood. Ultimately, The Witch is an exemplary exploration of obsession that stays with you long after its final haunting image.

Gothic Fantastico: Four Italian Tales of Terror is an exceptional release from Arrow Video that brings together four distinctively different examples of Italian gothic horror, giving them solid audio/video presentations and a wealth of insightful extras, highly recommended.

Written by Michael Den Boer