Thursday, 1 September 2016



There are many reasons why this thing is called Film Yellow - I actually like yellow as a colour, and it kind of sounds good - but the main one is that I do like a bit of giallo. Not just the biggest hits from the major players (Bava, Argento), but relatively lesser items like The Fifth Cord or Strip Nude For Your Killer. However, much as I enjoy them, I can't help feeling that it's only weird movie obsessives like me, and connoisseurs of the cinema backwaters, who have any real interest in such things, and thus I wonder precisely who else this painstaking Eurothriller tribute act is aimed at.

Sadly Francesca, an Argentinian giallo homage set in Rome, and screened in German for no apparent reason, seems more interested in nodding at the genre's tropes than actually doing anything new or interesting: it takes a fairly average giallo plot in which various individuals are being bumped off by a mysterious killer who has themed his/her crusade around The Divine Comedy (Dante Alighieri, not Neil Hannon), and a couple of detectives investigate (with, it has to be said, a curious lack of fire and energy). What, if anything, does it have to do with the opening sequence of a little girl stabbing a baby? Or Tchaikovsky's Francesca Di Rimini?

Appropriating older styles can work brilliantly: Ti West's The House Of The Devil genuinely looks like a lost classic from the Golden Age of American TV Movies, and Anna Biller's The Love Witch is a pin-sharp recreation of 1960s Technicolour froth. On the other hand, grindhouse tribute acts can wear out their fake retro appeal very quickly with post-production effects like scratches and faded colour on what is clearly a digital "print". But loving nostalgia by itself really isn't enough and it doesn't really click here (if nothing else, The House Of The Devil and The Love Witch were fun, and Francesca is oddly glum).

Luciano Onetti has certainly gone to a hell of a lot of trouble to make his film look like it was shot in 1971: the film has the colour scheme down pat (drab and bleak, unlike Cattet and Forzani's giallo exercises Amer and The Strange Colour Of Your Body's Tears which pump up the vivid colour and style at the expense of everything else), shots of the peculiarly ubiquitous J&B whisky bottle, and it's overlaid with Onetti's own score that could well be one of Ennio Morricone's dissonant jazz soundtracks of the period (the early Argentos, for example). But to what end? Those unfamiliar with giallo would be better off starting with, say, Blood And Black Lace and Tenebrae and exploring from there, while those of us who've bought Death Laid An Egg and Don't Torture A Duckling on import DVDs already know the genre's peculiarities - hell, that's why we love them. It's a pity that the pacing is so slow, so even a slim 80-minute running time drags alarmingly and it never really grips. A strangely pointless but not uninteresting oddity.


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