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Im Juli werden 7 Gialli geguckt, ein weitgehend italienisches Subgenre des Thrillers das Anfang der 70er seinen Höhepunkt hatte. Inspiriert von Krimi und Hitchcock stehen beim Giallo Stimmung, tolle Musik und Bilder im Vordergrund. Schöne Frauen gibt’s immer, genauso wie toll in Szene gesetzte Mordsequenzen und natürlich die Frage: Wer ist eigentlich der Mörder? Der Einfluss ist weitreichend: Von John Carpenters Halloween und dem Slasher bis zu Brian De Palmas Thrillern kann man klar erkennen wo die Einflüsse herkommen. Die Regeln sind ähnlich wie beim #japanuary oder #horrorctober: Liste machen, 7 Filme gucken, drüber schreiben , twittern und podcasten. Alles unter dem Hashtag #Settegialli (Sieben Gialli)
BEE45: Ein schwarzer Tag für den Widder (The Fifth Cord, 1971) mit André Wentzel
July 30, 2019 (duration 1h11m)
Patrick und einer seiner liebsten Gäste, der ehrenwerte André Wentzel, genießen einen erstklassigen Giallo aus der der zweiten Reihe, der vor allem auf ästhetischer Ebene zu begeistern weiß.

Patrick und einer seiner liebsten Gäste, der ehrenwerte André Wentzel, genießen einen erstklassigen Giallo aus der der zweiten Reihe, der vor allem auf ästhetischer Ebene zu begeistern weiß. Zudem gibt Franco Nero vor der Kamera von Vittorio Storaro (Apocalypse Now) sein Bestes als bärbeißiger, saufender Journalist auf der Suche nach dem obligatorischen Mörder mit den schwarzen Handschuhen. Vor und nach dem sehr launigen Filmgespräch zu Ein schwarzer Tag für den Widder (Giornata nera per l'ariete AKA The Fifth Cord, 1971) von Luigi Bazzoni gibt es noch eindeutige Meinungen zu Christoph Waltz, schlechtem Schnaps und blöden Filmen von smarten Filmemachern. Folgt André bei Twitter, Letterboxd und hört ihn im Glotzcast Episoden an der Seite seines Co-Hosts Frank. Bitte unterstützt Bahnhofskino und die Bahnhofskino Extended Edition bei Patreon oder Steady. Weitere Möglichkeiten, uns zu fördern, findet ihr auf der Hilf mit!-Seite.

Ein schwarzer Tag für den Widder (Giornata nera per l’ariete / The Fifth Cord), IT 1971
July 28, 2019 (duration 58m)
Zusammenfassung

Von Bazzonis GIORANTA NERA wird gerne mal behauptet, dass es ein Giallo aus der zweiten Reihe ist: klar, verhältnismäßig teuer produziert, Kamera von Vittorio Storaro, Musik von Morricone. Aber eben ein Wiedergänger von Argentos BIRD WITH THE CRYSTAL PLUMAGE, ästhetisch überragend, aber ansonsten ein Epigone. Ein Filmarchiv wagt eine steile These: stimmt gar nicht, das mit der zweiten Reihe. Im Gegenteil, GIORANTA NERA gehört in die Top Ten der besten klassischen Gialli. Weil er ein ganz anderes soziales Bewusstsein als viele andere Filme der Gelben Welle hat. Weil er ungeheuer sorgfältig Räume inszeniert und sie politisch auflädt. Weil er sich nur bedingt um die Genre-typischen Set Pieces schert, und wenn sie dann kommen, dann kann sich hier niemand an ästhetisierter Gewalt aufgeilen: hier tut alles beim Zuschauen sehr, sehr weh.

Daten & Verfügbarkeit

Giornata nera per l’ariete (de.: Ein schwarzer Tag für den Widder; en.: The Fifth Cord), IT 1971, Regie: Luigi Bazzoni

Wir haben die Blu-ray von Arrow gesehen: wunderbares Remaster und Extras, an denen man sich reiben kann (weil hier auch wieder die These vertreten wird, GIORANTA NERA sei nicht bemerkenswert).

Rechtliches

Für den Podcast wurden Soundeffekte von der Seite Freesound.org verwendet (Beschreibungen in Englisch):

  • Film Projector Countdown.flac by qubodup, licensed under Creative Commons 3.0 Attribution, the original file was edited (shortend) and is part of a mix of several sound layers.
  • zeissIkon_4ton.mp3 by al_sub, licensed under Creative Commons 3.0 Attribution, the file was not changed, but is part of a mix of several sound layers.
  • film_static_03.wav by joedeshon, licensed under Creative Commons 1.0 Universal (public domain)
  • Old Film optical track Surface Noise by JohnsonBrandEditing, licensed under Creative Commons 1.0 Universal (public domain)
  • sonVidage2.WAV by gouvradou, licensed under Creative Commons 1.0 Universal (public domain)

Thanks to all creators and the community of freesond.org!

Special Thanks

Ein besonderer Dank geht an Florian Hoffmann, der unseren bescheidenen Intro-Text wie ein Ereignis hat klingen lassen. Alle unsere Versuche, ihn mit Nachbearbeitung auf unser Niveau herabzuziehen, sind zum Glück fehlgeschlagen.

Der Beitrag Episode 096: Ein schwarzer Tag für den Widder (Giornata nera per l’ariete / The Fifth Cord), IT 1971 erschien zuerst auf Ein Filmarchiv.

ET051 - Der selbe Film mit anderem Titel (Feat. Niels)
July 27, 2019 (duration 1h14m)
  • Arne (Folgt der Blutspur im Park...)
    • Arne\\\\\\\\\\\\\\\'s blog
    • Arne auf last.fm
    • Arne auf youtube
    • Arne auf Instagram
    • Arne am Daddeln
    • Arne guckt Filme
    • Arne am Daddeln
    • Arne auf twitter
    • Arne\\\\\\\\\\\\\\\'s Musik-Wishlist
    • Arne\\\\\\\'s Lese-Wishlist
    • Arne\\\\\\\\\\\\\\\'s Film-Wishlist
  • Niels Owesen (Folgt Indizien im Gericht...)
    • Niels auf letterboxd
    • Bitte liken...
    • Bitte folgen...
    • Bitte flattern...
    • Bitte lesen...
    • Niels auf Twitter
    • Bitte flattern...

Titelbild © by Arrow Video

Zum dritten Mal befinden wir uns im #settegialli, in der Folge widmen sich Arne und Niels von der Cinecouch zum siebten Mal im Rahmen der Reihe Basta Divano dem italienischen Genrekino vergangener Tage. Um dem Monatsmotto gerecht zu werden, wurde zunächst drüben bei der Cinecouch in Ausgabe #255 (AKA Basta Divano #6) der unerwartet logisch konstruierte WHAT HAVE YOU DONE TO SOLANGE? besprochen, nun geht es hier mit Ducio Tessari’s DAS MESSER, auch bekannt als BLUTSPUR IM PARK, besser bekannt als THE BLOODSTAINED BUTTERFLY von 1971 weiter.

Schnell kommen wir zu der Erkenntnis, dass der sorgsam konstruierte Plot des vorherigen Films wohl leider eine Ausnahme darstellte, denn bereits an der Zusammenfassung des Inhalts scheitern wir kläglich und kommen nach einer ratlosen Diskussion mit einigem Gemecker zu dem Schluss, dass wir uns den reinrassigen Giallo wohl wirklich mal von Kenner_Innen erklären lassen müssen.


Direktlink – © by Arrow Video

Timecodes der Sendung

00:00:00 Willkommen zum #settegialli und Basta Divano
00:02:30 Exkurs: SUSPIRIA (2018) und Tilda Swinton
00:12:30 Wir sprechen über THE BLOODSTAINED BUTTERFLY von 1971
00:18:00 Kläglicher Versuch den wirren Plot zu erklären… (+ Exkurs: Gerichtsfilme)
00:27:00 …und rätseln an Motiven und Sinn herum
00:32:00 Wie spannend ist die Gerichtsverhandlung?
00:38:30 Die Kulissen im schönen Bergamo
00:42:00 Look und Kamera
00:48:00 Schlechter Ruf und eklige Männer des Films
00:53:00 Niels sagt auch mal was Positives (über den Anfang)…
00:57:30 …und dann wieder Negatives (über das Ende)
01:03:00 Wieso sind Giallo-Enden immer random?
01:08:00 Wir brauchen Hilfe mit diesem Genre!
01:10:00 Weitere Pläne und Bella Ciao!

Mehr Basta Divano bei Enough Talk! und Cinecouch

  • #01: Blutige Seide (Mario Bava)
  • #02: DellaMorte DellaMore (Michele Soavi)
  • #03: Die Sieben Schwarzen Noten (Lucio Fulci)
  • #04: Inferno (Dario Argento)
  • #05: Demoni (Lamberto Bava)
  • #06: Das Geheimnis der grünen Stecknadel (Massimo Dallamano)

Zeugs aus der Sendung (Partner Links):

Und über diesen Amazon-Partnerlink (*) kommt ihr zur Amazon Startseite, wo ihr alle weiteren Filme, über die im Podcast gesprochen wurde (und natürlich auch jegliches weitere Produkt, das ihr haben wollt) suchen und kaufen könnt. Ihr zahlt nicht mehr als den regulären Amazon-Preis, aber für alles was ihr in den Warenkorb packt, nachdem ihr über unseren Link auf Amazon gelandet seid, bekommen wir einen kleinen Teil des Kaufpreises zur Refinanzierung unseres Podcasts ausgeschüttet. Win/Win, oder?!

Zusätzliche Info: Natürlich trackt Amazon über Cookies wo ihr her kommt, um den Kauf zuzuweisen. Mehr dazu in unserer Datenschutzerklärung.

#109 – Settegialli 2019 – Your Vice Is a Locked Room and Only I Have the Key (Gäste: Jochen Ecke & Knut Brockmann)
July 21, 2019 (duration 2h10m)
Der Settegialli macht Halt in einem heruntergekommenem Landhaus in Italien: Zusammen mit Jochen Ecke und Knut Brockmann besprechen wir Your Vice Is a Locked Room and Only I Have the Key (1972, Il tuo vizio è una stanza chiusa e solo io ne ho la chiave), Sergio Martinos zynischsten und vielleicht auch besten Giallo. 

Mit seinen Gothic Themen, ländlichen Setting und den komplexen Figurenkonstellationen sticht Sergio Martinos vierter Giallo ordentlich raus. Gut dass wir zwei der besten Analysten der deutschen Filmpodcastszene zur Gast haben: Knut Brockmann und Jochen Ecke von Ein Filmarchiv sprechen mit René und Alexander über die nicht klar identifizierbare Hauptfigur, über die eher enttäuschend Mordszenen, eine richtig toll spielende Edwige Fenech und natürlich die Gothic Einflüsse inklusive Edgar Allen Poe’s Schwarzer Katze.

Natürlich packen wir auch die Giallo Beats aus, nach denen wir den Film Stück für Stück durchgehen:
  1. La trama e scandalo: Der Plot, der Protagonist und das Skandalöse
  2. Belle ragazze: Die Frauen
  3. Grande stile: Regie, Stil, Musik
  4. L’Assassinio: Der Mörder und die Morde
  5. Sospetto e polizia: Die Verdächtigen und die Polizei
  6. Sciocchezze! Die Italoquatsch Momente
  7. I momenti miglori: Der Bava Farbmoment und andere Highlights
Settegialli: Wir gucken sieben Gialli im Juli (gerne vier wenn die Zeit etwas knapp ist), Hashtag #settegialli

Macht gerne mit! Mehr dazu unter abspanngucker.de/settegialli

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    51:55 They had just been betrayed by an irishman. The eleven articles listed are only a summary and an incomplete one. The original was thrown overboard to prevent its capture, and thus there is a great deal of room to suspect. The remainder contained something too horrid to be disclosed to any except such as were willing to be sharers in the iniquity of them. What survives of the articles mentions marooning as a punishment in two instances. First, that any pirate among them who stole something of value from the crew as a whole was to be marooned. But if it were merely theft of another pirate's personal property, the crew would settle for a lesser punishment. The thief would be mutilated and then put off the ship in some inhabited place where he was sure to encounter hardships. Second, any pirate who attempted to desert the ship or who deserted his post during battle might be either executed or marooned. The articles of Captain John Phillips and the crew of the revenge are more interesting. Theyre shorter, containing only nine articles, but they were supposedly recorded verbatim. They specify marooning as a punishment for three deserting the company, keeping secrets from the company, and stealing from the company, although in the case of theft, the offender might simply be shot instead, as in Zanskar, the articles provide that the maroon was to be given certain provisions, in this case, a bottle of water, a firearm, and the gunpowder and shot necessary to use it. Both sets of articles specify immediate execution as the punishment for other, more serious crimes. Now, the most famous maroon of all. And here I was gonna do a little bit where I asked nina, like, what is the most famous maroon that comes to mind? And I was hoping she would say Robinson Crusoe, so that I could then be like, wrong. He wasn't a maroon. He was a castaway. But we talked about it in advance, and she was like, why would I say that he wasnt a maroon? 46:44 Thank you. A lot of reports about marooning, therefore, take the form of it's said that when pirates maroon someone, they or normal ships maroon a sailor this way, but pirate ships maroon a sailor that way. If the standard practice was to leave the maroon stranded on an inhabitable but uninhabited island, then pirates would maroon you on a sandbar that was covered by water at high tides. So you would get nibbled by crabs and then chomped by sharks. But even if we go back centuries, the popular understanding of pirate life has basically always been based on fiction, thanks to books like treasure island or on historical documents of somewhat dubious authorship. I'm referring here to the seminal text, a general history of the robberies and murders of the most notorious pirates from their first rise and settlement in the islands of Providence to the present time. This book, published in London in 1724, right at the end of the Golden Age of piracy, is lurid, graphic, and sensational. It directly inspired Treasure island and Peter Pan, and its probably the single biggest influence on the public perception of piracy then and now. But we dont know who wrote it or how he knew all the things he claimed to know about the secret lives of pirates. The name on the COVID Captain Charles Johnson, is almost certainly a pseudonym. The true identity of the author behind the captain has been hotly debated and well, probably never know for sure. Its clear enough that marooning was common practice with plenty of specific, identifiable instances in the histories. But whether it was an inevitable execution, a torture worse than death, or the buccaneering equivalent of a time out for bad behavior depended a great deal on the circumstances attending the stranding. A ship that had left sailors behind might think better of it after a few days and go back to retrieve them. Or if the marooning had been ordered by an unpopular captain, he might be deposed and the maroons rescued by the new leadership. A maroon on a habitable island near a busy sea lane could expect fairly prompt rescue. I can think of one example in which the person was rescued within eight days. Intrepid maroons, especially those deposited on shore in groups, sometimes managed to construct rudimentary boats and sail back to civilization. In one case, a whole ships worth of pirates was marooned together when they stopped on a small island to repair the hull of their ship, only to be surprised by navy patrol. To avoid capture and certain execution, the pirates burned their ship and fled into the interior of the island. Its not entirely clear to me why they burned the ship, but they did have friends nearby in a second vessel, and perhaps they were hoping that the navy patrol would move on after seeing the burned out ship, giving the other pirate vessel a chance to put into harbor and pick up the maroons. Unfortunately for them, the surviving pirate ship decided to just run for it. Instead. They got away. But shortly thereafter, a gang of mutineers who were determined to give up the pirating lifestyle shot the captain, a certain Thomas anstice, while he was sleeping, and imprisoned the other officers. They delivered them to the authorities at a nearby dutch colony, and for this service, the mutineers were acquitted of piracy. The captured officers were hanged, but the Maroons did all right for themselves. They survived on the island until another ship came into the harbor to take on supplies. They seized it, resolved to give up piracy, and sailed home to England, where, if Captain Charles Johnson can be trusted, they lived out the rest of their lives in peaceful obscurity. The more you read of actual examples of marooning, the more dubious those accounts that portray it as a fate worse than death begin to seem. In 1629, for instance, after the gruesome events of the Batavia mutiny, an 18 year old cabin boy turned mutineer was tried and sentenced, but spared from execution on account of his youth and his minor role in the mutiny. Instead, he was marooned. Like Sanskar, some pirates enshrined the marooning. In their version of law, a general history of the pirates recounts several examples of what the author claims are piratical articles or pirate codes, the self made laws governing each company of corsairs. The articles of the crews of Captains Bartholomew Roberts, George Lowther and John Phillips are recounted, and marooning appears prominently in the articles about the Roberts and Phillips crews. Roberts had gotten his start in piracy in the usual way. He had been second made on a merchant vessel until his ship was taken by pirates. I suppose it was a bit like working at a company that got bought out in a hostile takeover. The work is mostly the same. You just really hope you won't be deemed redundant. When the pirate captain who had captured Roberts, a certain Howell Davis, was shot to death five weeks later on principe, in the midst of a failed scheme to kidnap the island's governor, the surviving pirates elected Roberts as their new leader, despite his relative inexperience. Regarding the articles of Captain Roberts. The history says now projecting new adventures with his small company, but finding hitherto they had been but as a rope of sand, they formed a set of articles to be signed and sworn to for the better conservation of their society and doing justice to one another. Excluding all irishmen from the benefit of it.
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    36:00 John L. Johnson, you have wandered into the hot seat.
     
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    04:15 And then John Lennon comes in. It's like me like, 09:54 We're gonna take a moment to talk about how John 15:23 I guess the like like John McClain is the I
     
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    20:06 Shilah Bu, Shilah Buff and John Voight are in it,
     
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    00:52 Don Jay Don John Trump his so that documents case 15:34 I learned that in that John Mulaney show. Oh really,
     
     
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    19:24 I know who the fuck Bobby Kennedy is. John Fitzgerald,
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    The Horrifying Truth of Online Pornography
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    03:38 very few John and Jane Q public types realized how
     
    CLASSIC: Famous Lost Tombs, Part I
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    14:39 It was not like a little John name. And I 23:23 even destroyed the tomb. By the time Saint John Chrysostom
     
    Universe 25: The Parable of Rodent Utopias and Behavioral Sinks
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    [transcript]
    03:35 the facts. Let's start with a Tennessee boy named John 25:04 which was written by mister John Calhoun, and he actually 51:29 an interesting article on this, specifically on John Calhoun, and
     
    Listener Mail: Real Telepathy, Bird Flu and Cows, Voting Age, A Wholesome Conspiracy
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    23:41 the road. Sometimes he's not a John Deere tractor, you
     
    Drugs As Weapons, Part II: Cannabis-induced Psychosis
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    24:31 Here's where it gets crazy. True story. John Morales, the
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    1:13:24 Genau. John Doe. Könnte auch nicht ausfindig gemacht werden, Denn komischerweise.
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