{"id":3926,"date":"2011-12-12T12:19:52","date_gmt":"2011-12-12T17:19:52","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=2709"},"modified":"2011-12-12T12:19:52","modified_gmt":"2011-12-12T17:19:52","slug":"genre-benders","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3926","title":{"rendered":"Genre Benders"},"content":{"rendered":"

Not unlike the American exploitation realm during the seventies and eighties, weird genre fusions was also apparently in Italy (perhaps by the truckload), and it\u2019s natural that what remains in the unreleased and neglected realm are often really, really <\/em>odd films that were either passed over by other larger labels, too obscure, or perhaps regarded as not quite noteworthy.<\/p>\n

Critics and collectors have had some issues with the print sources and transfers from One 7 Movies, and while there\u2019s a need for improvement in areas such as subtitling (both accurate translations and proper synchronization) and background notes (the addition of basic text cards providing some filmmaker and production data would be a helpful boost), I get the feeling the sourced prints, in most cases, may be all that\u2019s available, unless a producer happens to have a negative buried in the closet under his adult periodicals and conquest trophies from 1970-1978.<\/p>\n

Joe D\u2019Amato made so many films in his career, one suspects the vast lot in his final years were largely cranked out as disposable fodder, never deemed to be worthy of any kind of preservation, whereas Nello Rossati\u2019s output was quite modest, and he didn\u2019t make any breakout works that challenged genres with dramatic directorial touches nor transcended programmatic material.<\/p>\n

They may be cult directors \u2013 D\u2019Amato excelled in fusing horror + erotica \/ porn, and Rossati\u2019s main claim-to-fame is The Sensuous Nurse<\/strong> (1975) \u2013 but like Jess Franco, their surviving work remains appreciated by connoisseurs\u00a0 – not a big market, but not a negligible one, either.<\/p>\n

\"\"<\/a><\/p>\n

Eleonora quickly discovers gathering cocnuts can be an abrasive experience.<\/p>\n<\/div>\n

The tough part in assessing Rossati\u2019s Erotic Escape<\/a><\/strong> [M<\/a>] (1985) and D\u2019Amato\u2019s Exotic Malice<\/a><\/strong> [M<\/a>] (1980) is seeing beyond the roughed up prints and oddly framed aspect ratios to see both directors making earnest efforts to not make crap.<\/p>\n

Exotic Malice<\/strong> is billed (according to the box copywriting) as \u201cthe first official hardcore outing of Italian cinema,\u201d but there\u2019s a strangely compelling tale of a self-destructive man amid the interludes of graphic bonking; and the outright wrongness of Rossati\u2019s terribly misogynistic Erotic Escape<\/strong> is nevertheless directed with skill that makes one ponder why he didn\u2019t succeed in bigger & better productions (unless, like Tinto Brass, he was content training his lens on bare bodkins).<\/p>\n

Both reviews are up, with a critical eye towards their flaws, conventions, and moments of unexpected skill buried in the remains of surviving 35mm prints.<\/p>\n

.<\/span><\/p>\n

.<\/span><\/p>\n

Mark R. Hasan<\/strong>, Editor
\nKQEK.com <\/strong>( Main Site<\/a> \/ Mobile Site<\/a> )<\/p>\n","protected":false},"excerpt":{"rendered":"

Reviews of Joe D’Amato’s Exotic Malice \/ Sesson Nero (1980) and Nello Rossati’s Erotic Escape \/ Fuga \/ Fuga scabrosamente pericolosa (1985) from One 7 Movies.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[1],"tags":[932,928,4212],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-11k","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3926"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3926"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3926\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3926"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3926"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3926"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}