synopsis
In the Paris of the mid-60's Le Théâtre De La Mort continues the tradition of Grand Guignol nineteenth century with great success. His depictions of horror and gruesome continue to attract the public, wildly applauding the brilliant and unpredictable assemblies Phillippe Darvas.
This is a scary movie, so, as always in these cases, appeared to have singularly strange series of crimes. All the victims appear without a drop of blood in his veins as if they had been attacked by a vampire. A police officer investigating the case and at the same time, frequents the company of one of the actresses of that theater can not help but make connections between the murders and the site where the girl works ...
Sheet
Director: Samuel Gallu / Producer: Pennea Productions Ltd. / Writer: Ellis Kadison, Roger Marshall / Photo: Peter Proud / Music: Elisabeth Lutyens / Editing: Barrie Vince / Cast: Christopher Lee, Julian Glover , Lelia Goldoni, Jenny Till, Evelyn Laye, Ivor Dean, Joseph Furst, Betty Woolfe, Leslie Handford, Fraser Kerr, Dilys Watling, Terence Soall, Peter Cleall, Esther Anderson, Steve Plytas / Nationality and year: United Kingdom 1966 / Duration and Technical data: 91 min. Color subts DVDRip with in a separate file.
Comment
Here we are again, mes amis. Coming back we used to do. Uséase, old, grateful and wonderful brit-terror of the golden age. Those magnificent 60's in which British film wielded imperial hegemony (Rule Britannia) on gender terrifying. Before the Americans counter-attacked and robbed of the imperium in the early 70's.
And, specifically, we place ourselves in 1966, this movie was made, Theatre Of Death. A time when Hammer was at the zenith of His glory, supported by its eternal sisters, the Amicus and Tigon. When the Swingin 'London marked the musical trends, social and aesthetic and London, these and other reasons, was again the center of the world (as it had been during the long reign of Queen Victoria, eighty years earlier.)
As far as pop culture is concerned, 1966 is the year of transition par excellence. The turning point between the old and the old ways aesthetic, musical, spiritual. The highlight of sixties pop, the bangs and the naive freshness, wonderful, teen pop and primal rock'n'roll ... but also, somewhat end. And therefore, the start of something different. Roughly speaking, the entry into adulthood of music. The invention of psychedelia, the adoption of new forms, new sounds, new aesthetics and images.
well ... Well somehow something similar also happens in horror movies, mes amis. Although it is forcing the parallels, it seems to me that 1966 is a turning point. It is the year that the old and wonderful Italian Gothic farewell with some of his greatest works (Operazione Paura, Un Angelo Per Satana). Thereafter, the Giallo take over and the ancient castles, dark corridors, cemeteries and studded with fog nineteenth environments will give way to more or less psychopathic murderers with a refined aesthetic sensibility and a pronounced taste for belligerence. In USA is preparing a counterattack, as Polanski is filming Rosemary's Baby (to be released next year) and has just finished his unique tribute to Brit-terror: The Dance of the Vampires. Corman and AIP have been shelved Poe cycle-Price and pass on to other things, other fears. Starts and popularization of Lovecraft claim to an almost pop icon. In Britain itself, producing as AMICUS and Tigon (which always characterized as a follower of his brother, the Hammer) almost completely obviated Gothic elements to tell horror stories set in the most obvious modernity.
not take my words at face value ... It is clear that the game still gave Gothic genre. Hammer itself often more or less continued until his last moment, mid 70's. The appearance of the Tyburn in 1973 was an attempt to revitalize that, unfortunately, was not successful, but that must be evaluated. Spain began the golden age of Fantaterror (from 1967-68) in which there was no shortage at all, dips in the most outrageous Gothicism (somehow it was Spain's last-jejeje-spiritual reserve of the gothic). Germany itself lit one of the masterpieces of the genre (cinematically speaking) just a year later: the torture of the 13 Maidens. Even in Italy there were examples of late and more or less isolated.
But to me (it's an opinion) it seems clear that from 1965-67 the Gothic gave way to new languages \u200b\u200bin terror. And not before had not existed ... But in the mid 60's when the scales tip definitely in favor of modern, terrors not supernatural, the psycho-killers, diabolism explicit and the new monsters (strictly) human . With permission from George A. Romero and his zombified hordes, of course ...
Well ... It opens in 1966 when Theatre Of Death. A film archetypal Brit-terror but at the same time, with a very original touch. And, needless to say, perfectly valid to justify everything I have stated before.
Starring Christopher Lee himself (well ... what the stars say ... is really secondary luxury makes, as usual), just so worth it. But it also has its virtues and peculiarities. Set in a modern and contemporary Paris (1966), at first glance seems to owe nothing Gotham and bagpipes. In fact, it would be like a daughter of the late current brit-terror that I have appointed some time and is more akin to the Penny Dreadfulls than with Victorian Ghost Stories ". You know what I mean ... Do not you remember the argument in movies like Black Museum Of Horrors or Circus Of Horrors). But beware, because here the picture is less clear.
First, the references to Penny Dreadfulls are so explicit, so obvious that most are disarming. All that the Theatre of Death and tradition grandguinolesca French final. A clear nod. And so ... No allusions or bagpipes. The thing is clear.
But at the same time, there is some truculence. In that moves away from the (wonderful) burradicas the late 50's and early 60's. The movie is elegantona and cruel, but never sensationalist. It is played with the theme of vampirism and, indeed, run a foot in the old Gothic and the other in the modern Yeye. There is even a sort of implicit homage to Italian films (La Maschera Del Demon comohaydiós. Things like that) in their own plays. All this film within a film, but in another way.
everything was codified in 1966. There was no longer any place for the naive nor naive. If you wanted to play had to accept the rules. Or rather, play with them. Turn them over. And the film
knows. Sign in in the game and scores well. Beginning especially in photography, wonderful, dark, full of light and shadow. As a kind of reinterpretation (humble, unassuming, almost homespun) expressionism. And continuing with the ongoing winks and references to gender, through the scenes "drama" (which, as I say, just evoke the Italian Gothic play tribute to one's Hammer) and other effects (this time Philippe Darvas / Christopher Lee projected in black and white images in which out vampires and old photos of Lon Chaney).
The film, obviously, I think a delight. A lost and forgotten joyica deserves a most urgent claim. An example of Brit-terror of the mid-60's that exemplifies the time and serves as a bridge between the old and new forms. Small wonder unpretentious soup with deep giving any sosada of now and that's worth its weight in gold. Everything about her is lovely. The color, light, shadow, the narrative takes the presence of Sir Christopher Lee, the fringe of the girls, the narrow black tie and French police, the final dance of the dancer mulatto. And that use of a photograph dark, gloomy, which gives it a curiously modern. Polanski was released
Dance Of The Vampires and had made it clear that the good old British Gothic came to an end (polanskiana comedy worked, in some sense with respect to the classic genre of vampires in the same way that "bridging the gap" Don Quixote about the novels of chivalry almost four years before his death Certifying ... by a brilliant parody.) Carnaby Street was the center of the world, like Trafalgar Square had been seventy years earlier. The thin red line was retreating (unabated, without failure, without losing. Orders of the superiority) in Aden and in the deserts of Oman. The Beatles were drawn in black and white on the cover of Revolver. The Hollies were waiting for the bus in the rain. Syd Barret strange and hypnotic singing songs about gnomes, bicycles and interstellar travel from the scene of the UFO, wrapped in colored lights. Psychedelia knocked on the door.
But the brit-terror still there, enduring the storm. Playing the old game, making clear references. Proud, austere, intimate. True to himself, but more open to new trends which, a priori, it might seem. Always worship, elegant, responsive ... but also lucid, conscious. Aware, perhaps, the short time remaining before giving the hegemony and determined to do well until the last minute. Subtitles are
work of a friend named Arch Stanton, made from scratch as well (which is very expensive). And my faith is excellent, considerably better than I usually do myself. To see if the thing goes on and keep the society (Actually, this movie we've posted half the two. Uséase, that the merit, if any, is distributed, ahem).
I, really, every day I'm older and more foolish. So this type of collaboration will become more frequent every day (if the employees are left, ahem ...).
The ripping from a DVD I have no very clear whether British, American or Italian (because at least there are these three issues). In any case, the image quality is excellent. We went up the film on two servers, Megaupload and Mediafire. Also, I do note that the version posted to the latter (Mediafire) includes audio dubbed into English (Latin American dub is a pretty good. Done at the time). The MegaUpload not. It is only in English.
That's it. That VOAC enjoy the movie as much as we have done.
Links download
(VOSE - Megaupload)
http://www.megaupload.com/?d=JDMSJWUU
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(Dual Audio Subs Latin American and in a separate file - Mediafire)
http://www.mediafire.com/?t3vyh8wb3t4djjl
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