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Da qualche tempo, Yuki e gli altri vanno ogni giorno in visita ad Akito. Rimasta a casa, un giorno Toru incontra il Cavallo dello zodiaco cinese. Strane creature le infestano, massacrando chiunque le incontri. Tre giornalisti vengono ritrovati morti nelle paludi. I loro corpi sono straziati. Peppone e Don Camillo raggiungono il successo e vengono trasposte in film apprezzati da tutti. Cospirazioni ai massimi livelli dello Shogunato, e una spada demoniaca, che potrebbe cambiare il corso della storia.

Forks, Stato di Washington. Una giuda agile e completa, ricca di apparati iconografici, schede complete sulla filmografia e sulle serie televisive. Napoleone Buonaparte rientra a Parigi, dove impera il Terrore. La rigida condotta di Robespierre guadagna al capo rivoluzionario molti nemici e lo conduce alla fine del suo governo. Lasciata di nuovo Parigi, Napoleone raggiunge il fratello Giuseppe. E soprattutto disegni. Dynit Andante BOX ltd cad. Queen emeraldas cad. Spazio anche al romanticismo, con il primo faccia a faccia tra Tempesta e Pantera Nera dopo il divorzio.

E se firma tutto Cho… dinosauri e ragazze formose sono una certezza! Remender e Cassaday mettono a dura prova il team composto da X-Men e Vendicatori, che rischia di essere annientato prima ancora di formarsi. Di Jason Aaron e Esad Ribic.

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Di Ed Brubaker e Michael Lark. Anche se, costume o no, i guai lo seguono ovunque Poi vola in alto, verso il futuro! Di Kieron Gillen e Greg Land. Di Joe Kelly e Pete Woods. In appendice la storia di Hit-Monkey continua fra sparatorie e spargimenti di sangue! Tre eleganti edizioni deluxe, in grande formato e con copertina telata, riproposte in uno speciale ed esclusivo cofanetto raccoglitore.

Da collezionisti! Una grande riedizione in volume! Devil Dinosaur! Si parte nel da Marvel Team-Up e Marvel Two-In- One, passando da Fantastic Four , primo numero in cui John diventa il disegnatore ufficiale, per arrivare allo storico Fantastic Four , albo in cui Byrne comincia a occuparsi sia dei testi che dei disegni. Cosa si nasconde dietro il suo omicidio? Bendis e Mack scrivono, Janson e Sienkiewicz disegnano! Agosto 17x26, B, 96 pp, col. Testi di Jason Aaron, disegni di Jefte Palo! Testi di Fraction, disegni di Bagley e Allred!

Di Brian M. Bendis e David Marquez. Non solo, ma Cap rischia pure di vincere le elezioni per il nuovo Presidente degli Stati Uniti…! Scopriamo come ha fatto il mite scienziato Bruce Banner a trasformarsi in un enorme mostro verde! Poi sono arrivati i poteri. Ma a proteggerci ci sono anche i Vendicatori, un gruppo di favolosi supereroi che hanno deciso di unirsi per salvare il mondo. Una graphic novel che rende omaggio al cinema di Hong Kong, appassionante, frenetica e visionaria come i film a cui si ispira. Le splendide tavole di Carbon Grey ci mostreranno quattro sorelle e una profezia che le lega al destino del loro paese, un mondo sconvolto da una guerra sanguinaria e una serie di complotti per la conquista del potere!

A chi, o a cosa, rispondono? Ma le cose si stanno mettendo davvero male…. Le avventure a fumetti di Finn, il ragazzino, e Jake, il cane vecchiotto. Riparte in una nuova veste grafica la saga della cybereroina creata da Yukito Kishiro. Finalmente la raccolta completa di questo capolavoro del fumetto giapponese, a opera del sensei Katsuhiro Otomo.

Akira Collection, la serie completa in cofanetto! Ha ritrovato la sua Aiko, e sembra intenzionato a stare con lei. Come un eroe, forse. Sarebbe stato meglio non fare niente, come al solito? Dimensioni parallele entrano in contatto! Vivranno avventure inedite ed esperienze estreme.

Ma questi pezzi del puzzle sono confusionari, e non fanno altro che gettare nuove ombre sul passato dei protagonisti. Possibile che tra loro si celi un assassino? Il puzzle si complica grazie a Hajime Isayama. Questi e altri misteri attendono il giovane Yakumo! Ma costoro sono davvero chi dicono di essere? Ammaliante, irresistibile… letale. Kaori Yuki ci conduce nei labirinti della psiche umana, con una storia pungente di disperazione, tormento e ricerca di espiazione.

Due dei nostri protagonisti si trovano poi a fuggire dalla capitale dopo essere rimasti ingarbugliati in una ragnatela di tradimenti! Ma i nostri protagonisti dovranno affrontare ancora delle importanti sfide prima di arrivare al tanto agognato lieto fine…. Estate, un caldo soffocante. Siete pronti a ritrovare i vecchi amici di Lunar Legend Tsukihime e nuovi affascinanti personaggi? Arriva anche in Italia il manga ufficiale del videogioco Melty Blood, assolutamente imperdibile per appassionati e nuovi adepti! Assolutamente da non perdere! Prende finalmente il via il Gran Palio della Magia, e fra i team rivali ci sono facce conosciute, amiche e nemiche, ma anche personaggi nuovi, tutti da scoprire!

Alla soglia dei quindici anni il nobile Oz trova uno strano orologio da taschino e, toccandolo, viene catapultato in un sogno delirante. In questo numero i nostri si troveranno di fronte a un nemico insolito: un albero sacro rianimato da un frammento della Sfera degli Shikon che uccide e divora chiunque gli si avvicini. In questo numero, mentre Shiro e Saber si trovano per scambiare pensieri e sentimenti relativi alla situazione che stanno vivendo, compare improvvisamente un Servant dai capelli biondi che sembra possedere un potere spaventoso!

Chi saranno i due piccioncini? Le cose cambiano il giorno in cui il ragazzo viene colto in flagrante dalla compagna Yuki Kurokawa, la quale prima lo canzona e poi decide di dargli una mano. Peccato che, sotto sotto, lei stessa sembri provare qualcosa per il ragazzo! Chi diavolo saranno? Nel frattempo, la vita di Thorfinn, impegnato nei lavori alla fattoria di Ketil, prosegue pacificamente. In questo volume vedremo Tsuna e Yamamoto che, dopo aver sconfitto i rispettivi avversari, possono finalmente concentrarsi sui prossimi bersagli. Non perdete questo nuovo, avvincente numero di Tutor Hitman Reborn!!

Baru, uno dei leggendari tecnici deceduti durante la Grande Demolizione, viene riportato in vita come Jumbor, nella speranza che possa contribuire a sconfiggere il potente tiranno. In questo numero compare di fronte a Baru qualcuno che dice di essere il suo vero figlio! Ma quali saranno le sue intenzioni? Peccato che il sogno si trasformi ben presto in un incubo sexy dalle sfumature sadomaso In questo numero vedremo Gakuto dare una mano a Kiyoshi con il suo piano di evasione dalla prigione! Un nuovo stuzzicante manga scolastico dalle forti tinte erotiche, assolutamente da non perdere!

Si incontreranno? Misao ha preso la sua decisione riguardo al figlio che porta in grembo, ma Kyo si tormenta ancora per la notizia del destino che attende la ragazza, la quale si sente improvvisamente male e, caduta in uno stato di torpore, sogna il suo bambino che le rivela una cosa importante Il giovane Blueberry, viene inseguito da Norton e deve scappare. Una meravigliosa storia ambientata nella Parigi occupata del giugno Su Aldaal, Cyann incontra Aieia, una ragazza imprevedibile che lotta solo per la sua sopravvivenza.

Due destini forti, due caratteri decisi come se ne trovano pochi nelle storie a fumetti. Blueberry decide di far evadere Trevor, depositario del segreto del tesoro confederato, e per farlo deve fidarsi di un uomo infido. Pearl, anche lei decisa a recuperare il bottino, cerca di usare il governatore Lopez promettendogli di sposarlo Tutti loro, e anche Blueberry, sono alla ricerca dei In questo volume, oltre alle pagine del fumetto, sono aggiunte 34 pagine di immagini inedite, schizzi, copertine, articoli: un grande dossier riguardante Il Mistero della Grande Piramide fin dalla sua prima apparizione.

Che piega prenderanno le loro vite? Tuttavia, non sapendo dove andare, finisce col fermarsi a casa di Koga Shimana oramai ha dichiarato i suoi sentimenti al padrone di casa. Ma se in principio la sua risposta era stata negativa, quando fa la sua comparsa la sua ex? Quali saranno i veri sentimenti che stanno germogliando nel cuore del padrone di casa? In questo numero prosegue il racconto su cosa sia successo a Ibuya dopo il suo ritorno ad Akaishi e della sua amicizia con una misteriosa Returner senza nome.

Ma, sullo sfondo, il Re in Rosso posiziona le sue pedine, in cerca delle 13 chiavi e dei 13 guardiani. Tokyo, Neanche per sogno: non potendo. Le speranze, i timori e la disillusione vissute da una ragazza il giorno del white-day, il 14 Marzo, quando in Giappone i ragazzi contraccambiano il regalo di cioccolato ricevuto a San Valentino. Essi erano pionieri di nuove tecnologie ed iniziavano a pubblicare e distribuire le loro opere attraverso canali personali ed indipendenti dal sistema.

La natura chiama: Imparate ad usare la natura come riferimento creando scene di Art Nouveau. Mucha workshop: Seguite Marta Dahlig per applicare lo stile di Mucha nei vostri ritratti. Basi di Composizione: Due gruppi di guerrieri avversari si sfidano in una evocativa illustrazione di Richard Anderson. Se nel gli artisti ci avevano stupito con una rappresentazione fantastica degli eroi di Dumas, nel si sono confrontati con la realizzazione di alcune scene chiave del romanzo. Venite a trovarci allo stand A per conoscere personalmente Chris Ayers e acquistare il catalogo esclusivo delle opere in mostra.

Sotto la direzione artistica di Cosimo L. Volume scandalo. Oltre pagine di humor allo stato puro, fresci, frizzante. Salgari, A. Di Virgilio, A. Meneghin, E. Un narratore che ha vissuto incatenato al suo tavolino, un capitano che non ha mai viaggiato, un suicida figlio di suicidi e padre di suicidi. Emilio Salgari, il padre degli eroi. Bisogna leggerlo per la memoria di quelle miriadi di persone morte in anni senza sapere come va a finire quella storia.

Telefonare a ore pasti. Ora il divoeroe si trova in una situazione instabile e pericolosa. Saranno uno sciamano indiano, e il suo aiutante gigante a Sasquatch, a soccorrere Preston nello scontro. Eppure il ragazzo non se la sta passando male, affiancato da un vivace scheletro di cavallo, e il nonno che non ha mai conosciuto Due nomination ai prestigiosi Eisner Award di San Diego , come miglior pubblicazione per ragazzi e miglior lettering! Restano i suoi avversari, resta Uncino. Un nemico dimenticato, una ferocia inimmaginabile sono pronti a scatenarsi ancora per le strade del nostro mondo.

In appendice una storia di tragedia e orrori, ambientata nella lontana Inghilterra. Gomboli, A. Pasini, D. Cajelli, A. A 30 anni dalla scomparsa di Emanuela Orlandi, 22 giugno , la ricostruzione a fumetti della vicenda e della rete di mi-. Il 22 giugno scompare improvvisamente una ragazzina di 15 anni, Emanuela Orlandi. Succede a tante ragazze adolescenti, di allontanarsi dalla famiglia, per inseguire un turbamento sentimentale o semplicemente per ribellione. Come se Emanuela fosse la vittima sacrificale di un osceno baccanale che vede coinvolte alte cariche istituzionali e religiose, poteri occulti e interessi economici.

Sembra impossibile ma i super agenti se la dovranno vedere con una forma di vita aliena inquietante e decisamente anomala. Torna la serie cult creata da Pino Rinaldi nel La polizia insegue un fuggiasco senza memoria, ma Lejla e Shan-Tai, due mutanti intervengono. Con End vol. Inoltre, FdC propone la nuova, esilarante opera di Marcello, la parodia del primo romanzo italiano, un capolavoro assoluto: i Promessi Sposi. FdC punta poi i riflettori sulla situazione comics in Usa, Francia e Giappone.

Da una parte la Gerusalemme liberata da imparare senza fare fatica! Anzi facendosi grasse risate per i In entrambi i casi, Marcello ha sempre utilizzato la sua personalissima tecnica narrativa a strisce umoristiche per parodiare i classici! Protagonista della Nona Arte, agosto - a cura di Franco Spiritelli, con cronologia e bibliografia di Ivo Milazzo. Per fortuna ci sono Luke e Niro, certamente due ragazzi molto vivaci e indipendenti, ma che non si tirano indietro quando si tratta di menare le mani.

Alcuni classici stilemi e siparietti dei manga di combattimento vengono riproposti dal giovane autore in modo dinamico e spiritoso. Originariamente pubblicato sulla rivista Il Giornalino nel e poi raccolto in volume dalle Edizioni Lo Vecchio. Numero Imperdibile. Il Monastero di Vallombrosa, sembra il tipico e solitario luogo di preghiera, ma dietro questa comune apparenza nasconde ben altro!

Big Joe, un gigante nero con una forza incredibile e Rod un ragazzo di strada, un picchiatore, con un incredibile potere di guarigione dalle ferite. Ma che intenzioni ha Farrell quando incontra di nuovo il Boss Tony Morello,. Le due auto vanno in fiamme, sembra non esserci scampo per nessuno di loro. Eppure Jude esce dalla sua auto come se niente fosse. Infatti il padre gli propone un lavoro, come apprendista nello studio medico di un suo vecchio collega, il Dottor Harrys.

Ma che fine ha fatto il dottor Harrys? Forse lo scopriranno quando, durante una notte di pioggia, una giovane ragazza viene rapita da una misteriosa creatura alata che si aggira nelle notte in cerca di sangue! Greca per fondazione, nel a. Copertina di Roberto Diso. Copertina di Massimo Rotundo. Oltre a proporre un nuovo episodio di produzione jugoslava, questo albo di Blek presenta una storia, scritta da Dario Guzzon e Roberto Renzi, e illustrata da Lina Buffolente, apparsa in origine sui numeri dal 37 al 45 della serie a striscia Collana Il Grande Blek, pubblicata tra il e il dalla Dardo.

Copertina di Jean-Yves Mitton. Un libro di cucina che usa i fumetti per far vedere come realizzare le pietanze del Sol Levante in modo divertente. Una guida illustrata al mondo del sushi e del sashimi, ma anche di molti altri piatti meno noti ma non meno buoni. Questo volume coniuga la precisione tecnica di un libro di cucina con il divertimento dei manga, rivolgendosi sia agli appassionati di fumetti che agli amanti di cucina orientale. Un orrendo sortilegio trasforma ogni notte il principe Baldrigr in un mostro demoniaco. Cover di Mike Mignola. Contiene Alan Ford Il grande regista assassinato, la Diva disperata, Anna furente, il film affidato ad un regista americano, alcuni inquietanti produttori Con un approccio scanzonato e ironico, Davide Toffolo ci racconta ilmondo con lo sguardo irriverente che da sempre contraddistingue il fumetto underground, avvalendosi della leggeraeppure graffiante immediatezza tipica del racconto a vignette.

Impossibile non seguirla. Collabora dal con Hamelin Associazione Culturale di Bologna e fa parte inoltre dello staff organizzativo di Bilbolbul. Festival internazionale di fumetto. Intanto realizza diverse autoproduzioni e pubblica su diverse antologie come Resi-.

Dal pubblica sul Lanfeust Magdella Soleil Edition , le strip di Epictete scritte da Guillaume Bianco, raccolte nel in Francia in volume monografico. Tra il e il pubblica Ballata per Fabrizio. I prodotti in offerta sono ordinabili esclusivamente tramite modulo del MEGA. Se ci fosse un modo per tornare indietro nel tempo, chi non lo farebbe? Ma poi le conseguenze non sarebbero scontate, proprio come accade al protagonista di questa storia, il diciottenne Leo, che torna nel passato con una strampalata macchina del tempo per salvare la sua storia con la bella Anna I suoi rivali saranno gli studenti della sezione musica, belli quanto stravaganti.

Il suo nome ufficiale: Federal Bureau of Physics. Si cambia, e facciamo quello che abbiamo sempre fatto: sopravviviamo. Purtroppo la serie non esiste in formato Home Video per moti-. Solo una settimana prima di un importante comizio, il Servizio Segreto scopre che una banda di estremisti ha intenzione di colpire, per uccidere il secondo Presidente afro-americano degli Stati Uniti.

Un consigliere di Central City scompare misteriosamente, e viene ritrovato morto a Los Angeles.

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Conturbanti bellezze! Mark Waid! Paul Smith! Cosa state aspettando? Diamond Comics dis. Bolton 16,8x25,6, C, pp, col. Un volume di gran pregio per gli strepitosi disegni di John Bolton. Ennis e S. Dillon 16,8x25,6, C, pp, col. Il predicatore prosegue la sua ricerca di Dio… con le peggiori intenzioni. Ma a cosa serve se poi sprechi la tua vita?

Due concezioni di giustizia opposte tra di loro si scontrano: quella del Cavaliere Oscuro e quella del Giudice Dredd di Omega City. Gaiman e D. McKean 16,8x25,6, C, pp, col. E, nel frattempo, trovare anche il tempo di fare da guardia del corpo al Presidente degli Stati Uniti! Una pessima giornata. Secondo quella macchina impazzita di follia conosciuta come Joker solo una pessima giornata divide una persona sana di mente da uno psicotico. E ha scelto quali cavie il miglior poliziotto di Gotham, il commissario Jim Gordon, e la sua bellissima figlia Barbara.

Il leggendario scrittore Alan Moore ha ridefinito il concetto di super-eroe con Watchmen e V for Vendetta. Anzi, se le fiabe esistessero davvero e vivessero in mezzo a noi, a New York? Di AA. Sotto forma di romanzo illustrato, ecco testimonianze incrociate di immagini che rivelano una vera avventura di uno dei pionieri del fumetto. Postfazione di Gianfranco de Turris. Con una nota di Quirino Principe. Sebbene sia difesa da incantesimi potentissimi, le spie di Nilfgaard sono infatti sbarcate persino in quel luogo isolato. E adesso sono in attesa, pronte a colpire E ha il potere di creare i sogni, un dono raro, ereditato da suo padre, un potentissimo Incubus armeno.

In un favoloso palazzo ai confini della Romania, Thea e i suoi compagni vengono addestrati duramente per combattere gli Azura, spietati Demoni del sottosuolo. E i protagonisti si troveranno a combattere non solo con veri Demoni ma anche con quei demoni interiori che popolano i cuori giovani e irruenti La principessa torna dunque a Landover, determinata a riprendere a ogni costo la sua vera educazione: imparare la magia da Questor Thews, il mago di corte, piaccia o no ai suoi genitori. Ma ora la loro pazienza sta per essere premiata. Il creatore del gioco, Richard Garfield, probabilmente mai avrebbe pensato di aver dato vita ad una tale macchina sforna soldi, la casa editrice Wizards of the Coast ha notato il suo potenziale e su di essa ha costruito la sua attuale fortuna.

Le Lanterne hanno bisogno del tuo aiuto! Che la sfida abbia inizio! Magari per un regalo veramente prezioso. Arriva finalmente il nuovo annuncio della serie Soul of Chogokin, che ultimamente latitava. I giochi le. Fu un prodotto assolutamente originale e completo, con numerose pagine dedicate alla dettagliata descrizione del contesto storico per permettere una riproduzione realistica del mondo medioevale.

Atmosfere fantasy, orientali e celtiche si confondono e si intrecciano in un luogo senza tempo e senza confini di straordinaria bellezza. Forme cangianti, che attraversano il confine tra uomo e spirito, tra materia ed energia, si rivelano in questo mazzo sciamanico: uno strumento potente per la meditazione e per la divinazione. Si alterneranno? Si sostituiranno? Vogliamo parlare della sublime regia di Peltri che firma anche una sceneggiatura da manuale insieme a Ugo Pirro?

Oppure vogliamo parlare della leggendaria colonna sonora di Ennio Morricone? Il senso unificatore dei film Marvel soddisfa il grande pubblico e dimezza i rischi ai produttori: tutti vincono. Il nostro adorato Quentin sforna un capolavoro citazionistico con umorismo, sangue a barili, inquadrature e sequenze da Oscar oh, se se lo meritava! Un nuovo capolavoro da aggiungere assolutamente alla vostra collezione.

Barocco, intenso, emozionante. Contiene Eps. Tiratura limitata e numerata. Nessuno riesce a sconfiggerlo sul ring, ma i suoi metodi sleali e crudeli lo rendono inviso al suo stesso pubblico. Tiratura Limitata in esemplari Cofanetto di cartone contenente un box amaray per un totale di 2 dischi Serie TV completa del Tutti quelli che erano bambini allora, ragazzi allora, sono cresciuti con la paura di Belfagor.

Niente superava le scariche di adrenalina scatenate dalle centillinatissime presenze di Belfagor.

Sono tanti i motivi per cui questo sceneggiato risulta sempre attuale, anche se in bianco e nero e con un immagine di Parigi lontana anni luce dalla metropoli di ora: la regia abilissima di Claude Barma, la sceneggiatura di Jacques Armand, sempre tesa e ricca di colpi di scena, e, non per ultimo i bellissimi occhi di Juliette Greco. La copertina dei dischi e del booklet presentano illustrazioni differenti dallo slip case. Gli ultimi tumultuosi mesi in carica del sedicesimo presidente degli Stati Uniti. Philip, un uomo vedovo e solitario, vive in Danimarca nonostante le sue origini inglesi.

Ida, parrucchiera danese, ha appena finito la chemioterapia, quando scopre che suo marito la tradisce. I loro destini si intrecciano. Il film riprende come il precedente si era interrotto, con Gianluca e Ruggero De Ceglie che scappano dai russi Serghey e Ivanov. Poco dopo padre e figlio raggiungono la Chiesa di San Sisto, nella quale si sarebbe dovuto celebrare il matrimonio nel film precedente. Stavolta, purtoppo per Ruggero, Gianluca si sposa veramente con Fabiana. Dino e Anna vivono una relazione fuori dagli schemi.

Tutto sembra senza soluzione Cordelia, Regina della Britannia, manda il suo fedele ufficiale Beltorax a chiedere aiuto a un piccolo villaggio noto per la sua tenace resistenza ai Romani. Qui vivono Asterix e Obelix impegnati a educare Menabotte, nipote del capo del villaggio. Tre amici di infanzia organizzano il colpo della vita ai danni di un corriere che trasporta diamanti. La sua vita scorre al riparo dai sentimenti, fin quando una donna misteriosa lo invita nella sua villa per effettuare una valutazione. Per questo decide di avventurarsi attraverso diverse generazioni di videogame e dimostrare a tutti che anche lui ha la stoffa per diventare un eroe Infatti, nessuno ospita Valjean, fino a quando, giunto a Digne, viene invitato dal pio e caritatevole Vescovo Myriel.

Il racconto di un bambino Victor e del suo cane Sparky. Dopo aver inaspettatamente perso il suo adorato cucciolo, il giovane Victor sfrutta il potere della scienza per riportare in vita il suo amico, ma con qualche lieve variazione. Avvicinato dal mago Gandalf il Grigio, Bilbo si ritrova al seguito di tredici nani capeggiati dal leggendario guerriero ThorinOakenshield.

Il viaggio li conduce per terre piene di pericoli e avventure, abitate da Goblin e Orchi e implacabili Wargs. Per ulteriori informazioni contattare gli uffici commerciali di Alastor. PROmozioni Prodotto in offerta a condizioni economiche particolarmente vantaggiose. I fortunati scelti dal pubblico saliranno sul palco per la finale presentata dal divertentissimo Omar Fan- 15 tini e dalla supersexy Giorgia Cosplay! La stagione calda dei costumi geekingdom 16 mech abc in collaborazione con www.

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Jones, limitata a cinquecento esemplari, fino a esaurimento scorte 19x26, C, col. Hikari Top N. Seagle, Tim Sale 17x26, B, 96 pp, col. Nelson, Sam Kieth 15x23, B, pp, col. Martin 17x26, S, 32 pp, col. Cosmo Serie Rossa N. ISBN 18x24, C, pp, col. Avengers N. Colosso contro Tempesta! Nuova Serie! Ultimo numero! Spider-Man Universe N. Ultimate Comics N. Panini Comics Presenta N. Panini Cartoon N. Manga Hero N.

Manga Mega N. Manga Heart N. Manga Angel N. FAN N. Star comics UP N. Jacobs 23,5x31, C, pp, col. Gizzi Ogni vol. Becattini, L. Boschi, L. Gori, A. Originally, the term Gothic was used in lit-. I Vampiri, a. Country: Italy. Filmed at TitanusAppia Studios Rome. Running time: 81 min.

Also known as: Lust of the Vampire U. Celluloid Gothic conformed to the same parameters: it usually opted for a past setting, usually the eighteenth and more often nineteenth century, as in Hammer lms. The British company would face the present day only in the early Seventies, with somewhat traumatic resultsDracula A.

In Italy things moved in a different direction: with the exception of Black Sunday and Mill of the Stone Women, the Gothic horror lms released between and mostly featured contemporary settings. As Riccardo Freda stated about I Vampiri, by placing my lm in the. I wanted viewers to leave the theater and think, this might happen today, it might happen here! Its genesis is well known: as Freda himself explained to ric Poindron, the project was born out of a challenge with producers Luigi Carpentieri and Ermanno Donati. In Italy there were just scary lms which were very naive, with a cheap supernatural angle, Carolina Invernizio-style, the director underlined, referring to Italys most famous feuilleton writer of the nineteenth century.

Italian cinema never ventured in the realm of the supernatural, never tried to make something like Murnaus Faust, which I still recall vividly an extraordinary lm. We couldnt even dream to have lmmakers of Murnaus strength,3 as Freda bluntly stated. I did a fantastique lm as I had done adventure lms.

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Fantastic cinema was a privilege of the Americans and the German Expressionists. And I wanted. I explained to Carpentieri that I could write a story in just one day and shoot the lm in two weeks. Carpentieri phoned Goffredo Lombardo, who was the biggest lm producer, distributor and idiot in Italy.

Freda says he can do a horror lm in two weeks and Lombardo answered Well, its not a big investment, we can try. I dictated the scenario on the magnetophone, wrote the script with Piero Regnoli and we started shooting.

L' URLO DELLA BATTAGLIA

It was a low-budget production, since Lombardo did not care much about the project. Freda and his crew utilized mostly existing sets: There were the remains of a papier-mache castle abandoned in the heart of the studio. The sets were about to collapse at any moment. Its the Aniene, a tributary of the Tiber. Mario Bava to nish the job. However, despite the apparently explicit Italian title I vampiri The Vampires , Freda ignores or even overthrows the genres conventions.

For one thing, the rst apparition of the alleged vampire who will actually be revealed as a mere factotum played by Paul Muller, is strikingly offbeat. Freda shows the character reected in the mirrorvisible as much to the viewer as to the victim. It is a bold move, as Freda immediately puts it clear that his vampires dont have anything to do with the supernatural: the man is dressed in a way that is more suitable for a gangster than to an undead bloodsucker, and he narcotizes the rst victim with a chloroform-soaked handkerchief.

Furthermore and most impressively , the romantic-erotic element of vampirization is missing: there is no hypnotic seduction, no sight of sharp teeth. The victims are unceremoniously abducted and drained of their blood in a cold lab, with medical efficiency. Syringes are more shocking than either vampires fangs or a bat.

I transposed suction with transfusion, as Freda would comment to Poindron. This kind of vampirism is practiced every day in hospitals but is called transfusion. Therefore I gave my fantastic lm a medical nature. Abandoning the AngloSaxon imagery, I threw myself headlong into horror []. Horror and reality nowadays march side by side. To be a vampire means to live near someone who is much younger than us and suck, without him or her noticing, the best intelligence, vital spirit and especially freshnessof ideas, feelings, reactions. Woe be it to live with elderly people: they drag you to the abyss of their anxious waiting for death.

Hence the modern idea of a vampire which must be objectied, in order to make audiences understand it, through an old woman craving for the blood of a young one. Yet, at the same time, cinema ensured that the features, the characters, the atmosphere associated with the Gothic took on a recognizable form and cemented in popular culture. Italian Gothic horror lms, though, blossomed in delay, and therefore applied another ltering to the procedure, by drawing on the earlier examples of celluloid Gothic: however, this further elaboration of various models soon exceeded the limits of tracing and helped the lone shape an original, unmistakable identity.

However, analyzing the catalogue of inuences displayed by I Vampiri, its obvious that Freda harked back to celluloid models which were already very distant in the past, and curiously heterogeneus. The idea of a woman pursuing eternal youth looks back at such classics as She , Lansing C. It was Bavas idea, as Freda admitted. We aged Gianna Maria Canales face with color make- up. But when Bava placed progressive lters before the camera, the wrinkles and the transformations in her face appeared she really looked as if she was decomposing visibly.

Hyde , can also be found in the contemporaneous U. Yet Freda was probably thinking of another famous movie history character, Queen Antinea in G. The directors rened cinephile culture brought him to contaminate various sources throughout the lm. There are elements taken from U. But Freda also brings in memories of Feuillades silent serialsstarting with the Italian title which recalls Les Vampires and German Expressionism: the notion of a horror strictly.

Mabuse lms, and the scary Signoret Paul Muller is not just a hybrid between Draculas Reneld and the Frankenstein monster, as some critics have noted, but most of all a perverse contemporary variation on Cesare, the somnambulistic zombie of Robert Wienes The Cabinet of Dr. Caligari There was in Germany a current that certainly inuenced me more than any other: the vampire lm series and then Expressionism, Nosferatu, Der Golem, Dreyers lm [Vampyr], all the fantastic lms of that era. Its common saying that movies leave a mark on children, but certainly they made a huge impression on me: I wasnt frightened, I loved them.

For the apparition of the decrepit duchess Du Grand, who hides her octogenarian features behind a black veil, Freda took inspiration from the disturbing old lady Henriette Gerard who is responsible for the vampirizations in Dreyers lm: a fact underlined by the name that the Duchess assumes in her juvenile incarnation after she has been injected with the rejuvenating serum Gisle, just like the young girl threatened by the old woman in Dreyers masterpiece.

Freda would later use again the image of the veiled old lady in The Horrible Dr. Hichcock, where he also recreated one of Vampyrs most celebrated images, that of David Gray laying in his coffin, in the scene where Barbara Steele wakes up in a casket which has a small glass window at face level, just as in Dreyers lm. Vampyr would become one of the most ransacked works by Italian Gothic lms. A curious choice, since Dreyers is denitely a sui generis vampire movie, characterized by a cultured approach to horror, and whose style was based more on atmosphere, expectation and suggestion rather than on shock effects: a style stretched between form and presence of reality, as noted by Dreyer scholar Sergio Grmek Germani.

If the character of Duchess Du Grand is a rereading of the historical Erszebet Bathory, who bathed in the blood of virgins to stay young, one of the lms major inuencesas Freda himself acknowledged12was Edgar Allan Poes short story The Fall of the House of Usher, with the suggested parallel between the decaying, dissipated interiors and the vampire played by Gianna Maria Canale.

On the other hand, Gisles sudden nal transformation into her octogenarian self after suffering violent emotions, which make the precarious chemical balance created by Professor Du Grands parascientic alchemies collapse, is an obvious nod to the nale of Robert Louis Stevensons The Strange Case of Dr.

Hyde: We wanted to create a double as terrifying as Mr. Hyde, Freda commented. But there is more. One of literary Gothics most noted scholars, Devendra P. Varma, analyzed the role of architecture and places in the Gothic novel in his study The Gothic Flame , and suggested an interpretation of the Gothic castle as a psychological symbol of neurosis. Varma argues that the manor in ruins often incongruously so, if we think about the periods in which the stories take placeis often the primary agent of terror which the hero or heroine must confront.

However, it remains a passive agent, whereas the villain who inhabits it is the active agent, who is born as a supplement of the castle itself and whose nature is dictated by the formers origins. In movies, the setting immediately reveals itself as merely pretextual, as it tends to a decontextualization which is proper to a state of mind where the set-pieces exceed their ornamental function to.

The two different ambients are connected by the huge hall and the staircase where the nal transformation of the Duchess takes place. In both lms the identication between the character and the environment is immediate. Robinson took inspiration from the great architect Sir Edwin Lutyens, and avoided all kinds of Gothic clichs such as cobwebs and Expressionist shadows, opting for a baronial splendorsuch a radical choice, in stark contrast to the Gothic imagery, that left producers puzzled.

If Draculas manor is the expression of a multisecular power that is perfectly integrated in the environment, selfcondent and able to assert itself and dominate the outside world, the Du Grand manor more disturbing and closer to us than Draculas castle in Transylvania as Freda commented17 is no less than an architectural monster, conceived like a putrefying organic structure, whose stones are corroded and almost falling apart, a metaphorical expansion of its inhabitant, 18 complete with such bizarre details as the SaintJacques tower, a renowned Parisian monument which Freda and Bava turn into the castles tower with a simple optical trick.

What is more, the castle is incongruously im-. I really dont understand how she can live in a place like this, Pierres friend says about Gisle Du Grand; and the hero adds: I dont know why, but I cant stand neither her nor this castle, unconsciously associating person and place as one whole. I Vampiri lives on the contrast between the sunny modern-day Paris, and the dusty aristocracy A bunch of dried-up mummies is what they are! There is more than a hint of social criticism in Fredas lm, as the castle becomes the offshoot of a decaying noble class which is out of time see also the relics of the past that adorn the Duchess bedroom yet still looks down on the world.

While Freda reveals their debaucherysee the columns adorned by grotesque high reliefs, portraying big- nosed. By its nature, the Gothic works on the emotions rather than stressing rational reactions. It enacts vice, violence, perversions; it evokes the specter of social disintegration as replicated in a closed microcosm; it calls into question the very foundations of common life, power, family and sexuality, and hypothesizes their more or less violent removal; it plays with the ambiguities related to its fundamental ambivalence, by urging excess and transgression and showing at the same time their jarring effects on the foundations of the community.

Finally, it leads the reader or the viewer on the edge of the abyss and allows him to look down, where reason would never bring him. As founded on such pillars, the Gothic lends itself to be modeled on the basis of the commercial strategies used by Italian cinemathat. Note the grotesque, big-breasted demon adorning the column authors collection. Whereas in swordand-sandal epics the center of the show were the muscular bodies of the bodybuilder heroes, who were called in to perform feats of strength, in Gothic horror lms the main point is the behavioral and sometimes somatic aberration, so as to produce an aesthetic of the female body and the violence that the monstrous forces apply to it.

The female body becomes the incarnation and the main expression of what Sigmund Freud dened as uncanny, which is at the core of the Gothic genre: that class of the frightening which leads back to what is known of old and long familiar. This is evident in I Vampiri. Since the dawn of the silent era, Italian cinema focused on the portrayal of the multiple female morphologythe belle dame sans merci, the ruthless ruler of the destinies of the unfortunates who fell in love with her, the demonic being that emerges from the fears of the collective subconscious of the European male, as lm historian Gian Piero Brunetta observed.

Female stardom enhanced a typically male imagination, brought to life removed desires, overturned taboos. It was, to quote Brunetta, an army of tempting Eves, Sirens, Ophelias, Circes, Dianes, Saloms, of exuous gures with the prehensile lips of a carnivorous ower, and eyes that could kill and paralyze like those of Medusa. A similar process accompanied the birth of Italian Gothic cinema, when a noteworthy allfemale star-like phenomenon developed. I Vampiri and Black Sunday are the two key stages in the denition of a changing idea of the feminine.

Fredas lm was also the last one the director made with his lover Gianna Maria Canale: a former secretary who ended up second at the s Miss Italia beauty contest won by Lucia Bos Gina Lollobrigida classied as third , Canale became a lm star thanks to Freda, who was struck by her arrogant, glamorous beauty.

Their rst work together was s The Mysterious Rider Il cavaliere misterioso , where Canale played Baroness Lehmann alongside Vittorio Gassman: the role won her the covers of Italys most popular lm magazines and made the year-old actress a movie star. Her liaison with Freda became a public scandal when the director left his wife and ew with the actress to Brazil, where they made two lms, Guarany and O Caula do Barulho Then their love story brusquely ended, and Canales star abruptly faded, until her early retirement from the scenes in This all conveys the sense of a fading ideal of beauty, that is about to be swept away by another female icon no wonder Canale initially.

Horror, in I Vampiri, has a distinctly sexual undercurrent: the real horric element in the lm is not the idea of draining young womens blood, but the old duchess love for the handsome photographer Pierre Lantin Dario Michaelis : that is, the senile passion and the desperate attempt to rejuvenate her sagging esh and make it desirable, and the implicit repugnance in the thought that the ravishing Gisle hides a wrinkled, disgusting body. All this is acutely reected in Beni Montresors dilapidated castle, with its high ceilings from which worn curtains hang, and its courtyard strewn with withered shrubs and dead leaves blown by the wind.

Fredas aforementioned words on the disgust of vampirism come to mind: Italian Gothic horror was born with a penchant for allegoriesand very cruel ones indeed. For all her ambivalence, Gisle Du Grand is an imposing, dominating gure, who surrounds herself with slavesa vampirism of the feelings which is a direct nod to the melodrama. Far from being a science-obsessed, asexual mad doctor, Julien Du Grand Antoine Balptr is hopelessly in love with his cousin, and their relationship is also vampiric in a wayas is the one between Julien and Signoret, whom the doctor controls through drugs: the correspondence between desire and drug addiction will return in The Horrible Dr.

What is more, the Duchess receives her visitors from a dominant position, peering down the staircase of the castle; later on in the lm, Gisle is sitting in an armchair that looks more like a throne, while the men gather around her like her subjects: her power is based on the ascendancy that she has because of her social and economical position, and she maneuvers her minions according to a strict hierarchical order. As an out-and-out horror lm, however, I Vampiri denotes a certain awkwardness. The rst part, dedicated to the police investigation after the young girls disappearances, sticks to a realistic tone: due to the use of syringes on the part of the vampire, the hero even considers that the crimes might be related to a drug.

This, among other things, has led some critics to consider I Vampiri as the prehistory rather than the year one of Gothic, as it lacks the organic unity, coherence and self-consciousness that should be recognizable in a founder,24 although it is debatable whether this was Fredas intention or the result of the producers alterations after he left.

It is not until professor Du Grands fake funeral that the Gothic atmosphere comes to the fore, with the violent contrast between the crypts trappings and the previous sequences terse light. Yet I Vampiri ends like a standard detective story, with the hero and the commissioner solving the case and walking away from the Du Grand castle just like Humphrey Bogart and Claude Rains in Casablanca , Michael Curtiz. A concluding shot by Bava which Freda was not satised with, as he had envisaged a much grimmer payoff: They nd the heroine locked inside a crypt, while I had her hanged.

I did shoot that sequence. The young actress was suspended in the air and had to fall into some kind of abyss. She wasnt a real actress, [] she was terried at the idea of being suspended into the void [] and the poor thing screamed. I lmed her screams. It was not the cry of an actress but a real scream of horror! He was guillotined at dawn by some men in black: the scene was quite shocking, and Bavas black-and-white cinematography underlined its horric quality. You could see the head fall. After the execution, professor Du Grand [] purloined the body and the head.

And after Frankenstein-like manipulations he gave new life to this dead body. It is a fascinatingly grim Hitchcockian moment and one that Freda would later recreate in The Horrible Dr. Hichcocks funeral scene , followed by an elliptical shot of the blade descending. Judging from these few seconds, had the scene been preserved in the lm, our view of I Vampiri would possibly be rather different today: not only the idea of opening the story with a gruesome act of violence partly predates Black Sunday, but it shows a tendency towards blood and gore that was quite ahead of its time, and delves deeper into the Gothic tradition, with its reference to Mary Shelleys novel.

That is even more patent considering another scene that Freda could not lm as he wanted in some interviews he claimed he actually shot it , where Signoret is being questioned at the police station: in the current version, the man suddenly falls unconscious to the oor, whereas originally we could see Signorets head detaching from the neck, as the reanimated manservant had run out of vital energy. On paper, it looks like another typical Grand Guignol effect, and expresses a certain condence in handling gruesome effectsa trait which would characterize Italian genre cinema overall in the following decades, and which must also be seen in a few gory effects in Fredas subsequent Caltiki, the Immortal Monster.

However, such material was considered too daring and unpleasant by the lms producers and distributors. Rhems and lmed in New York by Ronald Honthauer without any assistance, needless to say, on the part of Freda. The result was, to quote Robert Monell, Laden with absurdly conceived and badly lmed inserts, and missing about a third of its original. To fulll RCIPs requirements several scenes involving scantily clad starlets in compromising positions were quickly lmed and rushed into a severely edited down assembly. The rst scene from Fredas original footage has two silhouettes dumping the womans body into the river.

Besides these jarring continuity non sequiturs, as Monell pointed out, the real problem with this U. Another ill-conceived insert was an awkwardly comic interlude set in an unlikely French bistro where a bizarre oorshow is taking place where a matred insists that a female client tries their poulet au grat. On the other hand, no less than eight scenes were cut from the Italian original. In its home country, the result was not the commercial success the director had hoped, and according to Freda this was due to its explicitly Italian origin.

I remember I was at the lms premiere in San Remo. Many people entered the theater lobby and stopped to look at the posters and reading the names on them. When they saw mine, they exclaimed: My God, but this is an Italian movie!? Back then,. Punter, The Literature of Terror, Vol. Poindron, Riccardo Freda, p. The credits in the Italian version also feature, as co-scenarist and scriptwriter, a non-existent Rijk Sijstrom. Freda, Divoratori di celluloide, pp. Freda, Divoratori di celluloide, p. Sergio Grmek Germani, ed. Lunica grande passione Udine: Cinemazero, , p. There was a continuous collaboration between the director, the cameraman and the set designer, in order to heighten from the outside the literaryExpressionist content of the lm.

Rudolph] Mat asked that Silvagnis drawn sketches indicated all the light-shadow games on which to lean in the camera movements. Ruben Paniceres, El gotico italiano. Fantastico y ciencia ccion, in Jesus Palacios and Ruben Paniceres, eds. Una mirada al cine de genero italiano Gijon: Semana Negra, , p. He also directed two lms, Pilgrimage and The Golden Mass La Messe dore, : the latter was rejected by the Italian censorship commission because of its erotic content and came out in Montresors native country in a very manipulated version.

Mora, Elegia per una donna vampiro, p. Il cinema a basso costo in Italia negli anni Sessanta Rome: Carocci, , p. Sigmund Freud, The Uncanny, in Writings on. Riccardo Fassone, ed. Guida al gotico italiano, Nocturno Dossier 80, March , p. Wildest sexiest weirdest sleaziest lms: Horror allitaliana Florence: Glittering, , p. Poindron, Riccardo Freda, p For a detailed comparison between the Italian and the U. Lucas also mentions a nudie version being assembled in the United States, titled Lust of the Vampirethe same title as the version that was released in the United Kingdom.

However, such a hybrid has remained elusive to this day. Franca Faldini and Goffredo Fo, eds. VersionEP: Joseph E. Running time: 90 min. Distribution: C. Due to his heavy debts, Baron Osvaldo Lambertenghi is forced to sell his ancestral castle. The manor is ingloriously converted into a frivolous ve-star hotel and Osvaldo is allowed to go on living there working as a porter. One day, though, Osvaldo receives a visit from his uncle Roderico, who turns out to be a vampire. Osvaldo tries to warn the various guests of the hotel, which only result in his being taken for a madman.

Bitten by his uncle, Osvaldo turns into a vampire, and starts preying on the hotels female guests, who suddenly nd him irresistible and seductive. But only the one girl who truly loves him, Lellina, will be able to free Osvaldo from the curse. In the end, uncle Roderico returns home, determined, henceforth, to enjoy sex rather than blood. Released in Italy in late , Horror of Dracula was generally slammed by critics.

The regret for an era when cinema was able to give us such masterworks as Nosferatu is still alive, if we think about the laughable grossness of Horror of Dracula, wrote the renowned Nino Ghelli, blaming the lms banal photographical tricks, its vulgar sadistic suggestions and its bloodily stupid sequences.

Yet, Italys rst vampire lm was to be a parody. The use of elements taken from the Gothic and horror tradition for laughs was obviously not unknown to Italian comedies. Ghosts as a comic resource appeared in such lms as Quel fantasma di mio marito , Camillo Mas-. However, especially in the sequence when Tot is hired as a cemetery caretaker in the wonderful Tot cerca casa , Mario Monicelli, Steno , one could detect a patent diffidence toward Gothic paraphernalia, accompanied by a healthy, detached irony which was typical of Italian cinemas approach to all genres.

In Uncle Was a Vampire the deadly charm of Bram Stokers character is attacked and demolished by Renato Rascels vaudevillian spirit and director Steno Stefano Vanzina s knack for comedy. Vanzina was a former scriptwriter who had been part of the renowned satiric mag MarcAurelio together with such important names as Marcello Marchesi and Federico Fellini. Vanzina had debuted behind the camera in , and over his year career he directed 80 lms, mostly comedies: however, he also signed the landmark crime lm Execution Squad La polizia ringrazia, Farcethe treatment reserved to non-native modelsenriched itself with new targets thanks to the Gothic: next year it would be the turn of Stevensons character in Marino Girolamis My Friend, Dr.

But what is most remarkable about Vanzinas parody, however, is how it high-. Uncle Was a Vampire is packed full with jokes related to the sexual metaphor linked to vampirism: after Osvaldo is transformed into a vampire by his uncle Roderico, he nightly visits the rooms of his castle-turned-into-luxury hotel, 3 bites the female guests and awakens their libido. A visual gag has the dial of a clock that marks the progress of the hours while Osvaldo repeatedly stoops on the neck of scantily dressed women in their nightgown, who greet him with open arms: by morning, we will nd out that he has bitten no less than 42 of them, in a vampiric tour-de-force that is obviously a double-entendre for an extraordinary sexual performance.

The next morning, the ecstatic victims snub their husbands and boyfriends and chase the vampire who has forgotten every detail of his nightly forays , begging him to bite them again. The metamorphosis of Osvaldo, from romantic and asexual sweetheart to voracious predator who openly winks at the camera, makes him an unsuspecting stud, all the more comically. Hes not a man, hes moremuch more the vampirized ladies sigh, in a stunning anticipation of one of Italian Gothics most explicit examples of sexual innuendos, Graziella Granatas character in Slaughter of the Vampires , Roberto Mauri.

As the titular vampire, Christopher Lee plays his role straight, as Bela Lugosi did when reprising his Dracula role in the Abbott and Costello parodies, as opposed to Renato Rascels customary grimaces, jokes and double-entendres. Uncle Was a Vampire was the rst of Lees forays into the Belpaese: in the following years, the actor would be a recurring presence in Italian genre cinema, starting with Mario Bavas Hercules in the Haunted World Ercole al centro della terra,.

Yet, despite Lees imposing presence, the tone is quite different from typical horror movie parodies. Its , and you still believe in vampires? In Vanzinas lm one can feel the smell of the so-called Boom making its way through a plot that recalls the unpretentious musicals the so-called musicarelli which were one of the periods most protable genres, with such titles as Lucio Fulcis Howlers of the Dock Urlatori alla sbarra, Howlers was the pejorative term with which the press used to name the young singers who were inuenced by rock n roll and gradually detached from Italys melodic tradition.

One such example is the romantic subplot involving Carla Sylva Koscina and a howler, Victor Rik Van Nutten , who is predictably disliked by the girls parents. As seen is Stenos lm, s Italy is the total opposite of a Gothic scenario: a sunny, vital, enthusiastic and sexually hungry country, populated by young bullies chasing Nordic beauties, wealthy vacationers and greedy companies whose aim is to buy and reconvert villas, beaches and stretches of land into tourist attractions along the lines of Bavas Bay of Blood Ecologia del delitto, here. In s Italy there is no room for vampires, as suggested by the Italian title which translates into Hard Times for Vampires : the pompous Baron Roderico is unceremoniously evicted from his castle, his nephew Baron Osvaldo is forced to sell his familys manor, and Roderico nally has to settle for a crypt in Osvaldos chateau which has been redesigned into a fancy bar.

To put it bluntly, if Fishers vivid color palette pointed at an attack toward Victorian times hypocritical haughtiness, Uncle Was a Vampires bright Ferraniacolor unmasks the unlikelihood of a pairing between the Booms epicurean euphoria and the Gothics punitive gloom: it is no wonder that in the nal scene Roderico nally opens up to a mischievous smile and walks away arm in arm with a pair of curvaceous ladies, while Bruno Martinos contagious song Dracula cha-cha4 accompanies the end credits.

Despite being essentially a sillybut not hollowcomedy, Uncle Was a Vampire surprisingly works as a memento for Italian Gothic lms to come. The fact is, the rampant, pragmatic Italy of the Boom years does not accommodate the romantic melancholy and the darkly, tormented gures that populate Gothic ction and lms. Unless, as Steno does, they are played for laughs. The present did not look dark and gloomy at all, to audiences of the period: Italy was quickly becoming a modern, civilized country.

In works had started on the construction of the A1 the so-called Motorway of the Sun , Italys longest motorway which would connect the North and the South of the country it would open in , the Rome Olympics would be a prestigious showcase and a huge asset for Italys tourist economy, while saw the inauguration of Romes FiumicinoLeonardo da Vinci International Airport. In a country driving at full speed towards urbanization, wealth and consumerisma condition best exemplied by Dino Risis masterpiece The Easy Life Il sorpasso, and where the transition from a rural society to an industrial one is taking place traumatically quickly, the idea of vampirism as a myth produced by the middle class to explain its own antecedents and its own fears5 has no raison dtre as it is superseded by the present.

To destroy the vampire, the combination of science and religion, as well as rationalism and ethical conformism, are no longer necessary. There is no need of crucixes, garlic and holy water: the smell of money is enough, as Stenos lm explains. The future denitely looked bright brighter than the sun which turns vampires into dust. The U. The lms use of its Ligurian scenario is another example of Italian Gothics jaunty approach to settings. In the opening scene the camera pans on the notorious.

The song turned out a hit. In Henri Salvador launched a French version, with lyrics by Fernand Bonifay, while Vincente Minnellis Two Weeks in Another Town featured it as well in a scene where several characters are dancing to it in a hotel suite while Edward G. Robinson is taken away by paramedics after suffering a heart attack.

Punter, The Literature of Terror, p. Cast: Alberto Lupo Prof. Filmed at Pisorno Studio, Tirrenia. Running time: min. Also known as: Le Monstre au masque France, After suffering a horrible car accident, nightclub stripper Jeanette is persuaded by a mysterious woman to undergo experimental treatment in the hopes of regaining her beauty: professor Levin has developed a method to restore her beauty by injecting her with a special healing serum. However, while performing the procedure with the help of his assistant and lover Monique, Levin falls in love with Jeanette.

As the treatment proves to be only temporary, Levin determines to save Jeanettes beauty at all costs. Since the doctor gets the serum from young womens glands, he needs to kill for her sake. To do so, Levin injects himself with another serum, which turns him into a ferocious monster, and goes on a killing spree to get the glands he needs.

However, Jeanettes exboyfriend Pierre starts looking for her, and leads the police onto Levins tracks Released in Italy a mere eight days after Black Sunday, Anton Giulio Majanos Atom Age Vampire looks as if it belonged to a different decade, in the sense that it is closer to I Vampiri in its expunging of supernatural elements in favor of pseudo-scientic ones. The talky script1 cobbles together a number of cinematic and literary inuences that result in a clumsy hybrid which has little in common with Italian Gothic horror lms to come.

The storys backbone openly recalls Georges Franjus Eyes Without a Face Les Yeux sans visage, , released in Italy several months earlier , with a little bit of She Demons , Richard Cunha thrown inmost likely by coincidence since Cunhas lm was never released in Italybut superimposes other narrative tracks to it. The rst part, focusing on a scientist, Prof. Levin Alberto Lupo with an incongruous platinum blonde hair color , who is obsessed with the idea of restoring beauty to Jeanette Susanne Loret , a stripper disgured after a car accident, adheres to Franjus lm almost verbatim.

The turning point, however, derails the story in territories inspired by The Strange Case of Dr. Hyde, though a thousand times sillier: in order to develop the necessary courage to kill young women and gather the. In the third act, the police investigation takes overcomplete with tiresome. The lms awkward composite nature is all over the place. Levins unlikely laboratory recalls the American science ction B-movies of the period as well as the attempts at actualizing the myth of Frankenstein such as I Was a Teenage Frankenstein , Herbert L.

Strock ; the script calls for a pseudo-scientic explanation for Levins experiments and references to Hiroshima, including a scene where Alberto Lupo shows the inspector Ivo Garrani pictures of horribly disgured survivors,2 while the plot twist that has Levins murders attributed to a gorilla escaped from the zoo is a throwaway nod to Edgar Allan Poes story The Murders in the Rue Morgue; nally, the doctor is given an Igor-like mute assistant named Sasha, whose sole purpose in the movie is seemingly to provide the good doctor with a nal comeuppance.

The discomfort in handling the genres paraphernalia is patent: even the lmmakers are not sure how to dene the monster, so much so that a dialogue exchange has Levin allude to his alter ego as a sort of atomic vampire who wants to heal, a line that offered overseas distributors the inspiration for the memorable U. If Levins pointless man-to-werewolf routine was not silly enough, Alberto Lupos crude make-up and the use of lap-dissolves in the transformation scenes take the viewer back to early Universal horror lms, and make for an unrealistic, grotesque monster.

The theme of the disgured faceone which would become crucial to Italian Gothic horror lmsends with a reversal of roles that pushes back the story into the classic Gothic stereotypes: Levin turns into the monster in front of his by-now healed beloved, thus reenacting the classic Beauty and the Beast theme: it is a conventional, simplistic vision that Freda had already undermined in the ending of I Vampiri, where Beauty turned out to be the Beast.

More enlightening, however, is the gure of the mad doctor. Whereas Hammers Baron Frankenstein was a sort of an antihero for the age of Enlightenment, obsessed by science and ahead of his time, his Italian counterparts are. Majano turns the desperate fatherly love that moved Pierre Brasseur in Eyes Without a Face into an erotic obsession, and the lm itself into a horror-tinged melodrama centered on a case of amour fou: in order to keep Jeanette beautifulhence desirable to his eyesLevin sets out to do what no man has ever done for his woman.

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What is more, the relationship between the doctor, his female assistant Monique Franca Parisi and their patient develops into a bizarre love triangle of sorts. Its not love, though, as Levin confesses to Monique, its a sentiment complex, its only a compulsion if you like. I want to dominate the girlto possess her creatively. Similarly, the jarring alchemies that deform the body and behavior are related to sexuality and desire.

Despite its slapdash nature, Atom Age Vampire is unexpectedly vital when it comes to dealing with sex. The erotic element is well in evidence as from Jeannettes opening striptease before her lover Sergio Fantoni a sequence tuned in to the same wavelength as the periods sexploitation documentaries and Mondo movies. It is no wonder that the lm earned a V. Its box-office takings were modest in its home country, whereas it gained a certain notoriety abroad, where it was released in a truncated version, only 87 minutes long, eighteen minutes less than the original running time: several public domain copies, then, sadly clock in at 69 minutes.

Atom Age Vampire was his penultimate work for the big screen, followed by the Alexandre Dumas adaptation I fratelli Corsi Among the scriptwriters the name Alberto Bevilacqua stands out. Bevilacqua would become a renowned author in Italy after the success of his novels La califfa and Questa specie damore He also tried his hand at directing, starting with an adaptation of his own novel La Califfa in , starring Romy Schneider and Ugo Tognazzi.

Incidentally, several reference books incorrectly claimed Atom Age Vampire to be produced by Mario Bava, which it was not: the producers name, for the company Lions Films, was Mario Fava, an a. Alberto Lupo would deal with the Hiroshima blast again in Roberto Mauris clumsy giallo Le notti della violenza , in which he plays an inspector who investigates a maniac that is attacking prostitutes in a Roman park: the culprit turns out to be a Hiroshima survivor who has been disgured by atomic radiation.

In animator Scott Bateman released a new version of the lm, created by taking the Englishlanguage soundtrack and pairing it to animated visuals, with humorous results in the vein of Mystery Science Theatre In British artist Adam Roberts made Remake, a minute, scene-for-scene reshoot of the original without any of the characters, again using the English language soundtrack.

As Roberts explained, More or less, the shots have been recreated to preserve the framing, focus and moves of Seddoks cameraminus its cast. The texture and image quality of the lm is intended to evoke the poor quality of lms that once circulated on poor 16mm prints, worse VHS tape and now in extremely poor YouTube copies.

This lm is an experiment, removing the human presence from the lm frame but preserving the effect of human presence. It is a response to Gorkys comment that lm is a kingdom of shadows: he was talking about seeing lm images of people as ghosts, preserved eternally on a lm of emulsion. I thought to remove these ghosts and see what remains www. Andrej Gorobec , Andrea Checchi Dr. Running time: 87 min.

Home video: Kino Blu-ray, U. Moldavia, Princess Asa Vajda and her paramour Igor Javutich are sentenced to death for sorcery by Asas brother. A spiked metal mask is nailed onto her face and she is burnt at the stake. Before dying, Asa puts a curse on her brothers descendants, and a rainstorm extinguishes the ames. Two hundred years later, two doctors the young Gorobec and his elderly colleague Kruvajanare traveling in the region.

They venture into a ruined crypt and nd Asas tomb: Kruvajan accidentally revives the dead witch with his blood. Gorobec meets princess Katia, Asas descendant and a dead ringer for the witch, and he falls for her. The revived Asa summons Javutich, and together they exact vengeance. First Asa vampirizes Kruvajan, making him her undead servant and sending him to murder Katias father. Asas aim, however, is to take Katias place after draining her of her blood. Javutich abducts Katia and takes her to his mistress, but the girls crucix prevents Asa from going through with her plans.

When Gorobec arrives to save the girl, after dispatching the undead Kruvajan, Asa pretends to be Katia, and asks him to stake the vampire. At the last moment, though, Gorobec notices the crucix on Katias neck and realizes the truth The rst few minutes of Mario Bavas feature lm debut Black Sunday put on a show unmatched in Italian cinema of the time. A woman is stripped, branded with a hot-iron poker on her bare back, then subjected to an unspeakably gruesome torture as an iron mask is nailed directly onto her face.

When the executioner starts his terrible hammer blow, rather. In the storyboard, he had planned another over-the-top gory detail: the nails piercing from side to side of the stake the witch is tied to. Something was happening in the portrayal of violence on screen. A few months earlier, cinema-goers had got to see a similar sequence in Messalina Messalina Venere imperatrice, , Vittorio Cottafavi , where a Roman slave played by a very young Paola Pitagora was branded: that was nothing, however, compared to Black Sunday.

Until then, audiences were educated by the unspoken laws of American cin-. Here, blatantly and with incredible ferocity, the object of violence was the female body, whom lmmakers at the time were trying by all means to unveil to the audience, even if just a few inches more, despite the opposition on the part of the censorship commissions. In a matter of minutes, Bava had that very body stripped, humiliated, marked by re and martyred.

There had not been anything like Black Sunday before. Certainly not Hammer lms, which had introduced a few Grand Guignol elements: The Curse of Frankenstein relied mostly on Christopher Lees make-up as the monster, while the censorship issues that plagued Horror of Dracula regarded a few shots near the end, which were removed in order to gain the lm a.

Equally signicant is the comparison with the opening of The Hound of the Baskervilles , Terence Fisher , which narrated the antecedent that caused the family curse around which the lm was based: the debauched Sir Hugo chases and kills a peasant girl on the heath, only to be mauled by a hound from hell. Although the addition to Conan Doyles original story emphasized one of the directors favorite themesthe surfacing of animal instincts that underlie the formal aristocratic ostentationand introduced an erotic element that was not on paper, Fisher kept violence offscreen, preferring the suggestion of the unseen.

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Even Alfred Hitchcocks Psychowhich came out in British theaters just a week earlier and in American ones after the June previews on August 10, the same day Black Sunday was released in Italystopped way earlier in its depiction of violence, by reducing the Grand Guignol of the shower scene to a matter of suggestion by quick editing and visual illusion. Furthermore, whereas Marion Crane was stabbed to death forty minutes into the lm, Steeles torture came just after the lights had gone down, catching everybody unprepared. Black Sunday also marked a huge step forward with respect to violence as portrayed in the sword-and-sandal genre, which was supercially evoked by the sight of the musclebound, bare-chested hooded executioner.

In the peplum it was the mythological hero who was. What is more, sword-and-sandal lms portrayed a bloodless violencenaive, baroque but harmless, made up of gadgets as brainy as they were ultimately ineffective. Black Sundays violence is shocking because scary instruments hot-irons, spiked masks do cause gruesome effects. Middle Age inquisitors used to exhibit their tools of torture to the victims, while painstakingly explaining their effects in order to increase the unfortunates terror. Bava does the same by dilating Asas execution in a series of 19 shots that, through an elaborate and elegant use of the dolly, follow the Mask of Satan from the moment it is picked up by the executioner until it has been nailed to Asas face.

Time dilation, an emphasis on the aesthetic and graphic effects of violence, the refusal to resort to off-screen: Black Sunday already featuredalbeit in an embryonic waythe method of representation that would characterize other genres and threads in Italian cinema, from Spaghetti Westerns to gialli, starting with Bavas own Blood and Black Lace up to Argento and Fulcis lms.

There is more: with Black Sunday Bava staged a horric eroticism of the tortured body1 which paved the way for a new manner in which to conceive the horror movie. It is no coincidence that among the admirers of Black Sunday there were lmmakers such as Jess Franco and Jean Rollin, who put the connection between horror and eroticism at the heart of their experience in the fantastique. Criticism, on the other hand, had easy game to develop theories about this specic issue: according to Carol Jenks, violence is also addressed towards the audience, a desire to aggress against the very site of vision, the eye.

If the opening sequence used the vision of the tortured body for the purpose of visual shock, the gradual recomposition of Asas face, with her eyes reforming in their sockets in closeup, mixes revulsion and erotic fascination. The resurrection that follows, accompanied by the unexpected explosion of the witchs sarcophagus, shows how Bavas tactics consisted in a reliance on fresh rendering or novel manipulation of traditional images. The stake was driven off-screen into the vampires heart in Fishers lm, and the director allowed the audience just a quick shot of the aftermath, with the wood already lodged in the chest according to the convention borrowed from Hollywood for which the violent act and its consequences should not be shown in the same shot.

Here, the viewers were confronted with the sight of a long nail that penetrates the undeads eye. All this happens in close-up, without cuts. The disruptive quality of violence in Black Sunday must have been quite clear even before shooting: according to a law, in force until the new regulation on censorship which was passed in , lm scripts were sent by producers to a Ministerial Commission of Revision which evaluated them prior to shooting, giving an opinion on the contentand sometimes vetoing it. As for Black Sunday, the Commission stated that the script is so stuffed with witches, vampires, skeletons, ghosts, with its complement of murders and dead bodies, that the lm about Dracula Horror of Dracula looks like a childrens show when compared to it [].

The many horric sequences, for what concerns their gruesome content, may be evaluated only in the nished lm. Mario Bavas official directorial debutafter a few titles he had at least partially directed or completed without taking credit, including Riccardo Fredas Caltiki, the Immortal Monster and Jacques Tourneurs The Giant of Marathon also was offered to the then year-old director of photography by the head of Galatea Film, Nello Santi. Galatea was perhaps the most active company within genre cinema: it had launched the sword- and-sandal fever with Pietro Franciscis two Hercules movies Hercules, , and Hercules Unchained, , which had been box-office hits in the U.

Bavas choice was a short story by Nikolai Gogol, Viy, which he used to tell his children as a macabre fairytale before they went to sleep. Gogol stated that the Viy was a gure taken from Slavic mythology, although the writers scholars tend to agree it was only part of Gogols imagination. First published in in the short stories collection Mirgorod, Gogols tale was centered on three studentsKhaliava, Khoma and Gorobetswho get lost in the wilderness and take refuge by an old hag who turns out to be a witch.

At night she visits one of the students, Khoma, leaps on his back and has him gallop all over the countryside before Khoma is set free from the spell. The old woman eventually collapses and turns into a beautiful girl. Some time later, Khoma is called on to watch over a dead woman for three nights and pray over her body at a ruined temple: he nds out that the corpse belongs to the old witch.

During the three nights he must ght for his life, as the undead woman summons all the demons from hell, including the eponymous gure. Eventually Khoma dies of fear, while the monsters are taken by surprise by the dawn and are frozen in the windows. Bavas very rst outlinea scant four pages dated September , entitled Il Vijfeatured a beginning and an epilogue set in the present, where a newlywed couple are caught by a rainstorm while on a trip in the country and take shelter inside a sinister church whose guardian tells them the story of Khoma Chom.

Overall, the story was much closer to Gogols tale than the nished lm would be: the original model would become almost unrecognizable, as Bava himselfalways the one to belittle his own work joked. Yet, unlike most of its contemporaries, who adopted or pretended bombastic literary ascendances as a decoy, just as with their English pseudonyms, in Bavas case the relationship with Gothic literature was neither instrumental nor predatory, but the result of a true sensibility towards the genre. Besides the effective or nominal models of his worksfrom Gogol to Tolstoy, up to his last lm La Venere dIlle , co-directed with his son Lamberto , based on Mrimes storyBavas cinema would be prodigal with literary inuences, and reected the curiosity of an attentive and omnivorous reader, who in his interviews used to quote such pillars of twentieth century fantastic literature as George Oliver Onions and H.

This is not to say Black Sunday was not inuenced by Hammers horror hits: the references to Horror of Dracula are patent throughout.