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Il profumo della signora in nero (Perfume of the Lady in Black) 1974 Francesco I ragazzi della Barilli

Content: Silvia Hacherman (Mimsy Farmer) who lives alone in a large apartment in a stately old building. Apart from its neighbors, Signor Rossetti (Mario Scaccia), and the young Francesca (Donna Jordan), it has only a few people contact and also her boyfriend Roberto (Maurizio Bonuglia) has a hard time with it. For Silvia is like to be alone and retreats into her apartment. When she is awakened after an evening with Roberto until the next morning by her housekeeper, she is frightened, for she had never slept so long. In addition, the old family picture is with splintered frame on the ground, so it in for repair gives away.


The strange events accumulate faces and Silvia are many people who apparently are not real. Increasingly, they feel their environment as a threat, but the danger is lurking in her apartment in the refuge is ...

When Francesco Barilli with "Il profumo della signora in nero" made his first film, despite his youth he had already worked as an actor, assistant director and script writer collected. The film, in addition to "Pensione paura" of 1977, his only Film remained is regrettable in view of his qualities as a director, also illustrates the intense relationship with his few works.

Silvia Hachermann embodied by the American actress Mimsy Farmer is in Barilli staged in a way that reflects a direct emotional appeal to the self-conceived central character. It is not only the female beauty, the flowing clothes, the easy path and the graceful movements that create that impression, but an aura of loneliness and vulnerability, Silvia surrounded by the first moment. Although outwardly socially integrated - it has a well-paid job with Roberto (Maurizio Bonuglia) an attractive, educated friend - it never seems like a part of that reality. Even sexually she is beyond a crude map - the few moments of their nakedness lacks any voyeuristic painting, as the only sexual acts with her boyfriend almost rough in its immediacy, so even the alienation between Silvia and Roberto clarification.

Barillis look at this female figure translates into a sort on the viewer, which characterizes the identification with her character by a less close than the witnessing of their solitary situation. Even in the first very aesthetic images, accompanied by a simultaneously old-fashioned how mysterious sounding repetitive, music, builds up an inner tension and is one of their very orderly, peaceful life. This pace keeps Barilli over the entire period, does not expire in fast movements, but persists even in the moments of horror in a calm that never gives itself the banality of a reality.

The Silvia surrounding figures alongside Roberto especially the lovely Francesca (Donna Jordan), who also lives in her house, the father's neighbor Signor Rossetti (Mario Scaccia) or Andy (Jho Jhenkins) , a friend of Roberto, Silvia with his stories frightened about African cult activities are extremely friendly and well behaved, but the film it focuses increasingly Silvia's view, by which all outsiders threatening. This is the film manages to restore confidence in the people with whom Silvia is friends with change - skepticism causing people prove to be trustworthy, protective people suddenly seem dangerous. But the film is never really concrete, but always retains the impression of a sense of subjectivity shaped by Silvia.

This also applies to their past, and so psychologically they strongly formative events of their childhood that Barilli never pursued an enlightened gesture, but only by hints, real-looking links and the appearance of a mysterious lady in black, sprinkled with perfume - Silvia's mother, obviously. These scenes seem, especially when Silvia with himself as the child has to give a clear indication of the spiritual confusion of the protagonist, but the film refuses won a clear classification of this behavior - it is her deteriorating mental state, as her friend Roberto suspected, or just a reaction to a real threat to Environment?

The slowly-increasing risk of accumulating the confusing events elude conventional explanations and an understandable logic, since Barilli never can be quite clear whether they take place indoors or outdoors. This is ultimately the final scene, which is apparently in a more gross effects of shock from the frame - less by concrete action rather than by its realistic painting, of a moment away from the aesthetics of the film takes on an unreal and cold. But the darkness of the end from which the viewer is looking at the distant glimpse Silvia, suggests that that the terror not yet completed.


"Il profumo della signora in nero" Italy 1974 Director: Francesco Barilli, ; writer: Francesco Barilli, Barbara Alberti, Amedeo Pagani , Actor: Mimsy Farmer, Maurizio Bonuglia , Mario Scaccia, Jho Jhenkins, Donna Jordan, Running time: 99 minutes

- other films discussed in the blog of Francesco Barilli :

"Pensione Paura" (1977)

Exterior Red Brick Ideas For Shutters

Roma violenta 1976 Renato Savino

Content: While one of them an orgasm just playing on the pinball machines presents, preparing Marco (Gino Milli) have the next item on the program for its neo-fascist followers before. Ironically, Enrico, his friend and club member, should have become involved with a young woman who comes from a communist family. This is a severe violation of internal rules and must be punished.

Gianna (Christina Businari) and Dido are to follow the two and caught them having sex. But as they observe them, they are themselves victims of a robbery in which Gianna is raped by gorilla (Gino Barzacchi). Marco knows that Gorilla is part of the passage of Schizzo (Emilio Locurcio), which - unlike the from wealthy families coming fascists - comply with petty theft of water. After Marco gorilla has beaten is Nerone and his girlfriend brought to their internal court ...


As Renato Savino 1976 "I ragazzi della Roma violenta" (literally "The youth of a violent Rome") he made, he was on the amount of time, which he in the opening minutes with a documentary paints still wanted to emphasize. The survey of citizens for a response to rising youth crime, brought next to helpless responses only called for a harsher punishment. Multiple of the passer was the reintroduction of the death penalty.

are representative such statements are not, of course, but they fit in one phase, the mid-70s, in the terrorist attacks, student protests, labor unrest, free sexuality, and to emancipating youth to a deep uncertainty contributed to the population, had provoked in the minds of the most adventurous speculations. It was a conglomerate of realistic tendencies, such as the resurgence of fascist thinking, a post-war youth, who could careless living from the fruits of their parents and a rising crime rate, which - mixed compacted to the image of a brutalized, decadent youth - with wild sexual fantasies. Especially popular was the type of the offspring of wealthy parents, who raped and murdered out of sheer boredom.

While intelligent films like "Fango bollente" traces this development in an increasingly jaded citizenship recognized, or "ore San Babila 20 UN delitto inutile" Carlo Lizzani into an incisive eye on the neo-fascist youth accused made use of other movies these tendencies to either sex comedies, such as L'tutor " , or crime movies like " Roma l'altra faccia della violenza " (The bloody games of the rich), which not only has the title already significant similarities to "I ragazzi della Roma violenta". Even there, the senseless killings and rape of a decadent youth is discussed, but additionally embedded into a classic police story.

holds itself with such trivialities Renato Savino not even on that pretty much everything packed into it in his film, which was just announced - fascism, rich and poor youth, torture, physical violence, and lots of sex. The sheer number of naked women's bodies would have been enough for the glory of each sex film, only that it does not Savino celebrated in a quiet, longer settings, such as when consensual sex, but almost exclusively with violence.

Even the opening scenes give a foretaste of the coming events. While the group of young neo-fascists, led by Marco (Gino Milli) gather in their marked with swastikas and pictures of Adolf Hitler premises, leading from one of them, as he gets the game on the pinball machines orgasm. The beautiful Gianna (Christina Businari) who feels aggrieved in their honor checks to himself that her friend actually prefers the device a real woman. A little later she is on an observation post to jointly review with the pinball lover, the love affair of a club member with the daughter of a Communist - a crime worthy of punishment according to the strict rules of the neo-fascist group.

As they get turned on by the sight of the loving couple, she is the victim of an attack from Gorilla (Gino Barzacchi) and two companions, they rape, which Gianna does not come quite inconvenient. Gorilla is part of the passage of Schizzo (Emilio Locurcio), knows the Marco from jail and is friends with him. While gorillas still with his actions and does not mention that indicates how well Gianna had fallen, appears to Marco at Schizzo and suggests Gorilla together in a duel, which interferes with the other band members do not continue, including the masochistic assessed Nerone (Marco Zuanelli), the mutilated likes himself. When Marco is a cozy gathering briefly explained his right-wing political views (the only time in the film), it's back to business as usual. In an internal trial, he condemned his breakaway companions to Enrico, to flog themselves, while his girlfriend and uncover must sleep before Enrico's eyes with another member of the fascists must.

That sounds not only crude, but is in such a fast pace in a row away told that you could easily recognize in it an ironic exaggeration when Savino would take in between is not always so damn seriously. So it is completely mistaken, that Marco suddenly at night in bed the girl from the Communist family shows up and sleeps on the ground with her that she would now include all group members. It still looks like she puts her arms around him and kisses him, but why throw then the next day, suddenly the train? - Considering-catching, run by one of the events that has such a drama set up completely, even if it - look at things seriously - is understandable. could

focuses After these events, the film more on the characters Marco and Schizzo, not their lives be more different. While Marco is in the new Jaguar driving, rumärgert with his parents, who are to give him money without having to annoy him further Schizzo hardly know how he gets something to eat. This situation raises the film to the abstruse, if Schizzo lends extra a harpoon, in order to catch a roasted chicken, is caught and the dealer's sister, a prostitute for the evening has to promise to eat the chicken should. Their pimps agrees to the deal turn on only when Schizzo a negligee for her concern, which succeeds because the slitting his buddy Nerone in the clothing business, the arms with razor blades. This entire sequence is wrong so that it no one can take seriously, and culminates in the tooth to still Marcos harassment of an anarchist professor, his students should no longer influence with leftist slogans. During that cries out in pain, the film is constantly changing for sex scene with Schizzos sister, so the groans of the professor replaced the groans of the suitor.

But instead the story continues drive in this absurd form of progress, the film lapses back into clumsy sincerity. Increasingly, developed Marco Kill - fantasies during sex, which converts the film also detailed image. Parallel start both Schizzo and Marco to pursue a plan that will end in a specific rape. This approach lacks any irony or cannot, but is still unpleasant. But by no means realistic in a confrontation, but in the manifest, to be satisfied with this voyeuristic needs. This hypocrisy tops Savino finally look so by returning again to the nature of the journalistic survey of the beginning and the viewer with a text panel responds directly to what this is going to do against this type of youth crime - as if there had been any serious work in this film with this subject.

From today's perspective, it is relatively easy, "I ragazzi della Roma violenta" as absurd sex violence fantasy with a trimmed political message to dismiss, which can be viewed much in the spirit of the times out and is more unintentionally funny. This does not change the fact that Renato Savino his concoction quite serious, not commenting on the critical demands of the passers-by for the death penalty with the content of his film and ultimately to no prejudice on an allegedly completely out of joint youth waived, the fascist element rather folkloric works. Is finally revealing itself to the film but in the fact that he wanted to meet, especially the sensationalism and voyeurism of its viewers.


"I ragazzi della Roma violenta" Italy 197 6, Director: Renato Savino, writer: Renato Savino, ; Starring: Gino Milli, Christina Businari, Emilio Locurcio, Gino Barzacchi, Marco Zuanelli, Duration: 87 minutes

1996 Dutchman 30ft. Travel Trailer

État de siège (L'Americano / The invisible insurrection) 1973 Costa-Gavras

Content: Uruguay 1972 - in the entire country there is a state of emergency. Feverishly looking for the police and the army after the kidnapped Americans Philip Michael Santore (Yves Montand). But while the roadside lead to any results, it is a lonely parked car, the knowledge brings - in his fund is the body of an aid worker who was killed by the "Tupamaros", after the government had not responded to their demand that jailed members the underground movement in exchange to leave.


When a few days earlier, Santore, together with the Brazilian ambassador was kidnapped, aroused the wonder, for they turned the general question of why the "Tupamaros" for their interrogation, the results to the public later used to inform a development worker was kidnapped. Above all, the journalist Carlos Ducas (OEHasse) begins to investigate with responsible authorities react visibly nervous during the police force under the command of Captain Lopez (Renato Salvatori) is putting on Santore get free as soon as possible. Parallel interrogate members the "Tupamaros" the Americans and confront him with his real task in the South American country ...


Looking at Costa-Gavras major works of contemporary political thriller, based on the 1969 turned "Z" about a year later formed "L'aveu" (La Confession / The Confession) to its first American movie "Missing" (Missing) in 1981, then you can feel his search for an answer to the same question - how can a totalitarian state emerge and persist, even though he is going the liberties of its citizens limits and against all resistance by force?


be as clear as detailed analysis can not hide that Costa-Gavras unmasked with his films, although the motives, strategies, and internal relations of the perpetrators, but not the reaction of the bourgeoisie. So exactly one conspiracy and propaganda methods can also search, so little can be inferred from this causal implications, because the people always remain an unknown. Its very different approaches to basically the same theme, apart from the contemporary and geographical references at once, are therefore only of a general intention to - the viewer a possible complex Description of the development of a democratic state to a dictatorship way to keep in mind that such an occurrence in the future, at least more difficult.

The development that took his political thriller in their production form, but also the intended target group, according to an image of her time. "Z" was his most personal film, in spite of his general, avoid private details of analysis, could not hide the fact that Costa-Gavras here to tell his own story and that of his home country Greece. How much he confronted it, can be calculated from the conclusion of the film be read, resulting in subsequent films, which also gives the first could. In order to get funding at all for the film, Jacques Perrin founded specifically for this production company and Yves Montand took a starring role without a fee (like most other actors).

In "L'aveu" Costa-Gavras took a complete turn in the staging, by relying on a political character (again played by Yves Montand) as victims focused on the example he interrogation - and torture methods of a totalitarian regime - here the Stalinist USSR - analyzed. After the production of this film for the first time participated Italian firms, this group extended to "the invisible Uprising "on a German production company. It is also the parallels to the political films of Italian directors clearly, for the Italian production company EIA is equally active in Damiano Damiani's film" Il giorno della Civetta (The Day of the Owl) and " Confessions di un Commissario di polizia al procuratore della Repubblica (The clan that einmauerte his enemies alive), and in Elio Petri's "La classe operaia va in paradiso" (The working class comes into Paradise). W when he also produced Italian-German-French political thriller La Smagliatura " (The third degree) of 1976, three actors took over from the respective countries of production one of the leading roles - Yves Montand as the kidnapped victims, the American aid worker Philip Michael Santore, Renato Salvatori as Uruguayan police chief Carlos Lopez as a journalist and OEHasse Dukas. The Costa-Gavras not - as usual today - back to authentic country people attacked, but only filmed in French, was due to the team that the production of films for the first allowed.

That changed with "Missing", which was produced in the United States and occupied exclusively with the native speakers was. In this film portrays Costa-Gavras, the consequences of dictatorship from the perspective of a victim, plus an American who falls almost by accident in the mills of the (Chilean) police force. This has earned him the unjust accusations of trivialisation. It can be seen in "Missing" is the attempt to reach a target group by the first time not only those directly involved - whether on the political side or in the resistance - in the center of attention, but described a private, also an emotional experience fate.

"The Invisible Insurrection occupies a special position in this series, although superficially the film in his production of" Z "oriented and a similar Kaleidoscope developed, consisting of the views of the different stakeholders and their methods - politicians, journalists, businessmen, diplomats, military and police. Amidst this ever-changing, of eloquent speeches, accompanied locations, is a haven - a center of the Uruguayan urban guerrilla "Tupamaros", in which there is a trial, that principle of "L'aveu" (The Confession), remembers only with the opposite sign . Here the state power is not questioned, but the underground movement hijacked their victims, which is becoming a perpetrator of the actual out. The later consequences for the American Santore (Yves Montand) hidden Costa-Gavras, because the film begins when his body is found, before the events of the beginning of the abduction, it winds up slowly.

For the public, it is surprising kidnapped why with Santore a harmless aid workers was that also calls for journalists Dukas (OEHasse) on the plan, carrying out parallel to the interrogation of the resistance group's own investigations. Combined with further expansions, in part, rigorous scenes when trained as in a lecture hall on a living example of torture methods were developed, Costa-Gavras in an exciting process a coherent, from different Angles resulting document about the actual role of the Santore development worker alleged that the overt support of totalitarian systems to maintain their own commercial interests by the United States reveals.

The Costa-Gavras' sympathies of the "Tupamaros" belongs, can not be overlooked. It is not only the interrogation, which is characterized by fairness and convincing arguments that force Santore finally to admit its actual function, but also the other non-violent presence, from which they accept only distance in an emergency. Even the execution Santore (the other kidnapped victims are left blank) describes Costa-Gavras as a grass-roots act by having the members vote on it. Significantly, it shows the murder is not in the picture, as opposed to a large number of executions by the police under the leadership of Captain Lopez (Renato Salvatori). Behind it, while some legitimacy of assassination as a counter-reaction, but Costa-Gavras does not use this to glorification of the Resistance, but shows it is more than desperate, ultimately senseless act that is intended to prevent only to show external weakness, while even the successor Santor enters the stage.

Basically - and this is an outstanding feature of the film - Costa-Gavras was only possible with the reality - a reality that it finally caught up with itself. In fact, understood the "Tupamaros" long time as a peaceful movement, before the beginning of the 70 years of radical measures were abducted and forced victims to confess, they then have informed the public - without consequences for the government. In 1971 the leftists lost the elections and "The Invisible Insurrection" was filmed in 1972, were the most leaders of the "Tupamaros" already in prison. The atmospheric density and realistic impression of a South American country on the brink of dictatorship Costa-Gavras achieved not only by this fatalistic knowledge, but also by the location of Chile, then under the communist Allende government.

The film is much talk about Brazil and the Dominican Republic, which had been found prior to Uruguay as a good student of U.S. teaching methods, but was turned off only a year after "The Invisible Insurrection was , and Chile under Augusto Pinochet followed. By the same date had been "The Invisible Insurrection - No matter what position one takes in detail to certain details - legitimized in its general intent.

"État de siège" France, Italy, Germany, 1973, Director: Costa-Gavras , writer: Costa-Gavras, Franco Solinas, Starring: Yves Montand , Renato Salvatori, OEHasse, Jacques Weber, Evangeline Peterson, Running time: 115 minutes