The Killer Must Kill Again 1975 Dvd
Post-obit their United kingdom sectionalisation'southward release of the unexceptional DEATH WALKS AT MIDNIGHT concluding year, Mondo Macabro USA has dipped one time again into the popular giallo genre and unearthed a better example of what makes the Italian-bred thriller so popular among Eurocult fans. Directed by Luigi Cozzi, who had just lensed a popular installment of Dario Argento's Tv set serial "Door Into Darkness," THE KILLER MUST Kill Once more (improve known as THE KILLER MUST STRIKE Once again) is without a incertitude his nigh accomplished work, only doesn't come without a few flaws.
Henpecked husband Giorgio Manardi married for coin; his wife Nora comes from a wealthy family unit with cash to spare, which he dips into to support his mistresses. But when Nora cuts off his bank account in a fit of jealous rage, Giorgio is left aroused and perplexed as to what to practise. Enter the killer, a skull-faced monster who is caught by Giorgio dumping a car into the lake with a dead woman'south carcass in the backseat. Not wanting to waste a golden opportunity, Giorgio agrees to proceed the killer's clandestine...in exchange for the murder of his wife! Once the heinous deed is done, the killer drags Nora's trunk and hides it in the trunk of his car...which is stolen past ii thrill-crazed teenagers going to the beach for a sunny weekend! The killer is not far backside, ensuring that their fun will be cut short...with a knife...
Considering Cozzi is most familiar from his sci-fi railroad train wrecks (CONTAMINATION, STARCRASH) and Lou Ferrigno activeness/adventure flicks (HERCULES, SINBAD OF THE 7 SEAS), THE KILLER MUST KILL Once more is a pleasant surprise for the skeptical. Of his entire filmography, Cozzi has had a troubled time in the horror genre. Witness PAGANINI HORROR, with a goofy 80s sensibility and awesome theme song but little else, and THE Black Cat, a supposed third entry in Argento's Iii Mothers Trilogy. But this one is different. At that place's a start, a middle and an terminate, with a tight storyline which is intriguing and like shooting fish in a barrel to follow. Cozzi develops nailbiting suspense in several sequences, including the killer's stalking of and preamble to murdering Nora (with an homage to Jacques Tourneur'southward Cat PEOPLE (1942)), Laura left alone in the abandoned seaside castle, Luca returning to the castle to find a foreign ruddy machine in the driveway and the final confrontation between Laura and the killer.
Unfortunately, while this is definitely one of the meliorate non-Argento, non-Martino gialli to come out of the Golden Historic period of the genre, the characters themselves are a pretty nasty bunch, making information technology hard to understand with anyone. Fifty-fifty Laura, the supposed "heroine," giggles as her boyfriend steals the killer'south car and helps him rob a gas station attendant past reluctantly flashing her boobs. It is the lack of emotional core to the characters that makes the flick come up a little light during the long stretch betwixt the murder of Nora and the killer catching up with the teenage thieves. Yet no affair how undeveloped the character of Laura is, in that location is no denying that the repellent rape scene, intercut with Luca's backseat shagging of the giddy blonde with car problem, is truly nauseating and ranks as one of the filthiest sequences in Eurocult movie house. Cozzi provides little mortality in the moving-picture show (except for the barbarous fate of said silly blonde), possibly due to his previous feel shooting a bloodless suspense thriller for Television set, but none is required. This is a taut suspense thriller which is far from anticipated and deserves to find a larger audience thanks to this well-washed DVD.
To brand the film even more highly-seasoned to Eurohorror enthusiasts, check out this cast! Giallo rex George Hilton (ALL THE COLORS OF THE Night, MY DEAR KILLER, Case OF THE SCORPION'S TAIL) is the slimy Manardi, in his usual good-looking bad guy role. The killer is played by Michel Antoine (aka Antoine Saint-John), with the strangest face since Reggie Nalder! He should be recognizable from his spaghetti western roles (A FISTFUL OF DYNAMITE, MY NAME IS NOBODY) and of class as the ill-fated painter in Lucio Fulci's THE Beyond. Interestingly, this film reunites ii co-stars of Bava's LISA AND THE DEVIL (1972): Eduardo Fajardo and Alessio Orano. They don't share whatsoever screentime hither, but it'southward a absurd sidenote. Fajardo plays the inquisitive constabulary inspector investigating the disappearance of Nora Manardi, and (the much too one-time) Orano plays the teenage motorcar thief Luca, who's actually a horny bastard who ditches his virgin girlfriend for a sexy blonde.
Once the viewer come across Cristina Galbo as the victimized Laura, information technology'southward obvious Orano is C-R-A-Z-Y! Ms. Galbo is one of the well-nigh adorable and warmest actresses of European cult films. Every one of her performances is worth seeing; she near e'er played the innocent teenager thrust into a bizarre world of depravity and horror, but injected an earthiness and vulnerability that endeared her to audiences. The Castilian-built-in beauty kicked off her horror career in the masterpiece LA RESIDENCIA (1969) and didn't appear in another bad genre piece for the rest of the decade; WHAT Have YOU Washed TO SOLANGE? (1972), Allow SLEEPING CORPSES LIE (1974) and THE KILLER MUST Kill Again (1975) all contain superb Galbo performances. The simply stunning Femi Benussi made her film debut in the cult classic Bloody PIT OF HORROR (1965) and from there steadily worked in Eurosploitation for the next 20 years. Notable films include the title function in TARZANA THE WILD GIRL (1969), Bava'southward HATCHET FOR THE HONEYMOON (1971), THE SLASHER IS THE Sexual activity MANIAC (1973), STRIP NUDE FOR YOUR KILLER (1975) and many, many more. She even appeared in the Greek Ajita Wilson film EROTIC PASSION (1981) near the end of her career. Femi is given a thankless part as a dizzy blonde girl (the blonde wig obscures her flaming cerise pilus which was her trademark) but provides nudity and several winning smiles to make it worthwhile.
Mondo Macabro provides a beautiful anamorphically-enhanced widescreen transfer culled from the original negative. Presented in 2.35:1, its scope aspect ratio, THE KILLER has never looked this good! E'er shown in muddy fullscreen tapes with nighttime nighttime scenes and faded colors, this DVD is a revelation! Clear and crisp night scenes, assuming colors (especially in the all-giallo flat of the Mainardi's), solid blacks and robust reds and not a speck of grain, clay or grit to exist seen. This print, strangely enough, has the on-screen title of THE KILLER MUST KILL AGAIN during the opening credits, just the endmost credits refer to it as THE SPIDER (IL RAGNO)...hmmm... Two audio options are provided: the English dub and the original Italian runway with English subtitles. The latter is preferable, as the majority of the bandage spoke their lines in Italian or Spanish (Antoine in French); the English dub really bogs the film downwards and makes the suspensefully tedious footstep much more lethargic.
To appreciate the feature film, Pete Tombs and Andy Starke have provided a slew of fabled extras with the assistance of manager Luigi Cozzi. Starting time and foremost is the feature-length audio commentary with Tombs and Cozzi. Cozzi explains the moving picture'southward original championship, THE SPIDER, having to pay high prices to go George Hilton in another thriller, problem with Teresa Velasquez ("Nora") in her nude sex scene, and great memories of Michel Antoine, Cristina Galbo, Alessio Orano, Eduardo Fajardo and Femi Benussi. He also discusses his filmmaker influences similar Hitchcock and Argento, a Dashiell Hammett brusk story figuring into the teenagers subplot, the moments of black humor which might wing over some viewers' heads, and even infinitesimal details, like who played the dead corpse in the opening shot, the initials on the killer's lighter and the film playing in the theater attended past Hilton and Antoine, are hit upon. This is as in-depth a commentary 1 could inquire for!
A collection of featurettes characteristic 2 on-camera interviews with Cozzi. In the start, "The Road to the Killer," Cozzi gives us groundwork on his babyhood fascination with Famous Monsters magazine and his dearest for all things motion picture. He was the Italian correspondent for Uncle Forry's magazine, regularly kept in impact with sci-fi writers similar Ray Bradbury, became assistant editor of a local sci-fi magazine and worked on dubbing American films for Italian cinemas! See rare glimpses of his student film THE TUNNEL Under THE WORLD, too! "Initials D.A." discusses Cozzi's lifelong friendship with Dario Argento. He contacted Argento after the success of THE BIRD WITH THE CRYSTAL Feather (which he recognized equally a moving-picture show version of Fredric Brownish'southward "The Screaming Mimi"), directed the episode "The Neighbor" for Argento's Telly series "Door to Darkness" and worked with him behind the scenes on CAT O'NINE TAILS, Iv FLIES ON Greyness VELVET and DEEP RED. Their friendship also resulted in Cozzi creating the indescribable mess BLACK CAT aka DEMONS 6: ARMAGEDDON, which is the unofficial last entry in the Three Mothers Trilogy. The featurette "Death Walks at Midnight and the Giallo Genre" was produced for the same R2 release of DEATH WALKS AT MIDNIGHT, and so at that place are liberal clips of that film (the best moments of the film, actually). The familiar female narrator and writer Adrian Smith (whose book Blood and Black Lace is a must-ain!) discuss the history of the genre, from Bava'south early works through the mid-70s when the really great films began to exist few and far between.
The disc also includes the original theatrical trailer nether another alias, THE Dark IS DEATH'Southward FRIEND; the very cool original Italian title sequence under the title IL RAGNO (THE SPIDER), with a spider spinning a web every bit the titles roll; well-written biographies of Cozzi, Hilton, Galbo and Benussi; a history of the moving-picture show's production (where nuggets of info reveal the film was financed with French and Spanish money, hence the international cast, and Gloria Guida was originally cast to play Femi Benussi's function); and two galleries of fascinating behind-the-scenes photos and Italian posters and lobby cards. And be certain to watch the Mondo Macabro promo reel, enticing consumers to choice up essential discs like ALUCARDA, THE DIABOLICAL DR. Z, ASWANG, THE LIVING CORPSE, Blood OF THE VIRGINS, SEVEN WOMEN FOR SATAN, LADY TERMINATOR, the less-than-essential CRAZY LOVE, MILL OF THE Rock WOMEN, Dangerous SEDUCTRESS, and the upcoming Daughter SLAVES OF MORGANA LE FAY! (Casey Scott)
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