Autopsy (1975) dvd movie.|
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List Price: $14.95 Our Price: $12.99 You Save: $1.96 Features • Color • Dolby • DVD-Video • Widescreen • NTSC In Theaters : June, 1977 DVD Release : 27 February, 2007 |
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Autopsy (1975) description Chilly blond Mimsy Farmer is an Italian medical student who has disturbing visions of the waking dead during a rash of grotesque suicides. She works in a morgue where every living man in her orbit hits on her and one coworker even tries to rape her ("You can't blame a guy for trying. Nothing turns on a man more than an icy woman," comforts an oh-so understanding boyfriend). Barry Primus is an angry priest with a dark past and anger-management issues (he screams, "I've killed many others and I'll kill you too," while beating a man's skull into the pavement). The apparent cause of the suicide hit parade is extreme sunspot activity (each death is punctuated with fiery images of solar flares), but when victims close to Farmer start dropping from high-rise windows, the picture twists into a murder mystery with a gallery of sleazy and shady suspects. Director Armando Crispino fills in the edges with unending images of death, shocking violence, and gratuitous nudity, creating an intermittently stylish but often bluntly exploitative horror mystery. Shorn of 15 minutes when it debuted in American theaters in the mid-1970s, the sex and violence has been completely restored for video. One short scene is in Italian with English subtitles, due to missing soundtrack materials, while the rest is dubbed in English. Ennio Morricone provides a suitably strange mix of atonal stings and lovely melodies. --Sean Axmaker |
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| ♥♥♥♥♥ | Beware of Sun Spots |
| Blue Underground continue their excellent restoration and re-issue of important Italian giallo films with Armando Crispino's 1975 effort "Autopsy" - just one of the six titles the film goes under. UK and US audiences may know it better as "The Magician" and "The Victim" respectively. By 1975 the formula of the giallo was cast pretty much in granite, and already signs of self-reference and parody were creeping into this most peculiar Italian filone. But Crispino instead opts for an elliptical temporal framework, and a rigorously subjective character perspective. The opening montage presents the audience with a series of random and unconnected suicides - this opening is a tour de force, and its narrative function is further elucidated by inserts of violent solar flares, and sunspots. Crispino uses the urban myth of sunspots causing suicide to act as a metaphor for what turns out to be a very conventional giallo motivation; inheritances, wills, and blackmail. However, with a lead character cracking up under the strain and suffering hallucinations (A brittle Mimsy Farmer), an epileptic racing driver turned priest (an edgy Barry Primus) and a photographer with a penchant for images of French dominatrix's (a strutting Ray Lovelock) - Crispino doesn't entirely manages to evade the clichA s, but still he is able to present something that is very near to the narrative conventions of art cinema. This film emerged in the same year as Argento's giallo defining "Profondo Rosso", and is a far more unnerving and unsettling prospect, with an unusually drab visual style that emphasises the griminess of the implied incestuous relationship at the heart of the film. As all the action applies or relates to Americans or half Americans one can only assume that Crispino wasn't too enamoured with the US. Finally audiences can enjoy a totally unexpurgated print of a giallo that deserves a more prominent place in the field. | |
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