Fragments of Fear - A Giallo Podcast

Fragments of Fear returns to the sixties to discuss Vittorio Sindoni’s French styled thriller and prototype giallo, Deadly Inheritance. Throughout the episode we explore the placement of Sindoni’s film in relation to the gialli of the 1960s and beyond whilst looking at other key filmic elements from the significance of its rural setting in provincial France to its characterisation and usage of red herrings. We also take a look at the film’s production history, Sindoni as a director and some of the film’s lesser known cast.

In the latest episode of Fragments of Fear, we return to the eighties once again to dissect Bruno Gaburro’s 1989 giallo, Fashion Crimes. Perhaps most notable for its leading role from Tenebrae alumni, Anthony Franciosa, we take a look at the actor’s career and assess the effectiveness of his character and the draw his casting has on the film. In our exploration of the film, we look at the film’s thematic ideas that tie back to the golden age of the giallo from fragmented memories and nonsensical crimes to innate psychic abilities. We also assess the film’s failings and missed opportunities, offering our thoughts on ways in which plot could potentially be rectified and improved upon. As always, we take a look at the film’s director, production history and place in the evolution of the Italian giallo.

In celebration of Fragments of Fear’s first anniversary, we eschew our focus on the lesser known gialli in favour of a more well known title requested by you - the listeners! Running away with the vast majority of the vote was Andrea Bianchi’s popular giallo from 1975, Strip Nude For Your Killer, one of the more sordid titles to emerge from the giallo cycle. We examine the film’s sleazy reputation and accusations of misogyny, framing them within the film’s comedic stylings and the Italian cinema of the period. We also take a look at the film’s self aware usage of giallo tropes, effective set pieces and comical characterisation as well as celebrating one of the most iconic actresses of the genre - Edwige Fenech.

Whilst Mario Bava’s 1960s thrillers, The Girl Who Knew Too Much (1963) and Blood & Black Lace (1964), have become known as the defining giallo texts of the 1960s, the tropes and genre markers of the giallo weren't fully established and popularised until Dario Argento’s debut, The Bird with the Crystal Plumage in 1970. As such, the Italian thrillers of the 1960s could be thought of as prototype gialli - transitional works that bridge the gap between the the fantastical psychosexual modernist fare of the 1970s and the more traditional thrillers of the 1960s that were often rooted in the Gothic. One key text to understanding this transitional period in the giallo is Ernesto Gastaldi & Vittorio Salerno’s Libido (1965) which is imbued with elements of both and marks a move towards the archetypal giallo that Gastaldi helped to popularise as a prominent writer in the genre. In this episode of Fragments of Fear, we examine this key period in the genre and examine how Libido acts as a transitional yet highly influential work in the giallo. We take a look at the film’s Freudian themes, Gastaldi & Salerno's use of the Gothic and Libido’s enduring influence on the giallo alongside our usual musings on the film’s production history and key players.

In this month’s episode of Fragments of Fear, we return to the Italian thrillers of the late 1960s, looking at Franco Rossetti’s The Rage Within. Released in 1969, at the height of the student protests, we examine how the political volatility of the late 1960s manifests throughout the film - assessing if the purported ideologies of the main characters are wholly honourable. Adapted from Alberto Moravia’s short story, “Crime at the Tennis Club” we look at how Rossetti translates Moravia’s themes of Roman existentialism to the 1960s through various familiar giallo thematic tropes such as blackmail, jealousy and double crossing. We also analyse what The Rage Within says about the widening chasm of the generational divide in the 1960s and explore this concept in relation to the relationships between the central characters.

Delving once again into the genre’s post golden period, in this month’s episode of Fragments of Fear we take a look at an example of the giallo poliziotteschi hybrid in Paolo Cavara’s politically charged E tanta paura aka Plot of Fear (1976). In our dissection of the film, we explore Cavara’s background as the originator of the Mondo film and take a look at how the creative freedom afforded to him in Plot of Fear led to a complex, deconstruction of the giallo utilising elements of the poliziotteschi and American led conspiratorial thrillers of the era. Other themes explored in the episode include Plot of Fear’s satirical leanings, the concept of surveillance led paranoia, political injustice and decadence and perversion.

For the latest episode of Fragments of Fear we turn our focus once again to the golden period of the genre with Maurizio Pradeaux’s 1973 giallo, Death Carries a Cane - a formulaic giallo indicative of the trend for Argento styled thrillers in early 1970s Italy. Analysing the film’s merits, we discuss the effectiveness of its humour - touching upon the role of comedy in the giallo - and examine how it impacts on Death Carries a Cane’s characterisation. We also muse on the film’s Argento inspired set pieces and brief similarities with Luciano Ercoli’s Death Walks films including the multiple shared cast members. Finally, we assess the effectiveness of Death Carries a Cane’s ending and the alternative explanation given for the film’s events in the German version.

In this month’s episode of Fragments of Fear we revisit the genre’s post golden era examining Duccio Tessari’s 1974 giallo Puzzle. Arguably the lesser discussed giallo of Tessari’s foray into the genre, we make the case for why Puzzle is an essential title for fans of the giallo. From the film’s sympathetic characterisation, courtesy of Senta Berger’s exceptional leading performance, to its exploration of Hitchcockian style themes of fractured and mistaken identity, Puzzle is an effective thriller that eschews the genre’s tropes in favour of a more heartfelt styled mystery. Emotive and engaging, Puzzle is a captivating slow burn giallo that places its characters at the heart of its mystery. We discuss why these elements make Puzzle an effective, albeit, different entry in the giallo cannon. Theme music performed by Ozarks. Hear more at castleozarks.com.

In this month’s episode of Fragments of Fear we take our first foray into the work of prolific Italian genre film director, Umberto Lenzi, delving into the second of his gialli with American actress Carroll Baker; Così dolce, Così perversa aka So Sweet… So Perverse (1969). We discuss one of the most influential but unsung figures of the giallo; Luciano Martino, examine the various strands of the 1960s giallo and look at the core themes at the heart of the film from its erotic nature and changing gender politics to Lenzi’s critique of class and portrayal of the ennui of the bourgeoise.

Episode Zero In this special introductory episode of Fragments of Fear, we discuss the ethos behind the podcast whilst talking about our own experiences and introduction to gialli. We touch upon our friendship, personal involvement in gialli releases and the importance of community and social media in the celebration of the genre.