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He sincronizado los subtítulos en español procedentes del DVD, ripeados por havel y publicados en cine-clásico.Uncle Meat escribió:IMDb
Director/Cinematographer: Mario Bava
Story and Screenplay: Cesare Frugoni and Alessandro Parenzo
Camera operator: Emilio Varriano
Editing: Carlo Reali
Additional Editing: Angelo Marzullo
Music: Stelvio Cipriani
Main Players: Riccardo Cucciolla (Riccardo); Maurice Poli (Doc);
Lea Lander (Maria); Luigi Montefiori (Thirty-two); Aldo Caponi (Blade);
Erika Dario (Maria, the hitchhiker); Gustavo De Nardo (Gas station attendant)
Alternate titles: Rabid Dogs; Semaforo Rosso; Red Traffic Light; Semáforo Rojo (SPA)
Synopsis
Doc, Thirty-two, and Blade are three desperate criminals. Together, they hold up a small drug company for the week's wages, killing several people in the process. However, before they can escape, their car is decimated in a shoot-out with the police. Taking refuge at a nearby parking garage, the men take over another car and secure an innocent bystander, Maria, as hostage. With Maria in danger, the police agree to hold off, but Doc knows that it is only a matter of time before the authorities spot their car.
Originally planned to be released in 1975, CANI ARRABBIATI ran into trouble when its main financial backer was killed in an automobile accident. For Bava, this represented another bitter defeat. Much like LISA E IL DIAVOLO, this film was a pet project for the director, and the fact that it, too, was prevented from seeing the light of day had a devestating effect on Bava. However, its eventual release in 1996 was a fortuitous event for Bavaphiles everywhere, all of whom were totally unprepared for such a bleak, bitter, and totally realistic crime thriller.
Seen within the context of Bava's other work, CANI ARRABBIATI makes a profound impression on many different levels. In his essay on the film, which accompanies the special DVD presentation of the movie, Tim Lucas suggests that the film reveals much about Bava's decision to devote his life to art. Quite simply, this is the only time in Bava's career that the director strove for absolute realism. The stylized lighting and architectural style which typifies his other work is conspicuous in its absense, and the story never strays into the realm of the fantastic. More than just being a change of pace, the film stands as a testament to the way Bava viewed the world. The stark, sparsely populated landscape is populated by people of little real value; the climate is charged with violence and greed. It is hardly surprising, then, that the director should have sought refuge in the never-never land of art. Moreover, this interpretation offers a telling commentary on the director's obsession with stylization. Overall, the director's view of human nature is a dark one, and if this view extends to the "real" world in which he lived, it seems perfectly logical that Bava should have created a completely artifical environment in which to set his films. The irony, of course, is that even in the hauntingly beautiful "imaginary world" of Bava's other work, violence is still the guiding principle.
As are so many of the director's films, CANI ARRABBIATI is very much about the deceptive nature of appearances. Riccardo assumes the role of victim, thus fooling everybody, including the audience. Bava provides an apparently happy ending (Maria is killed, but Riccardo and his "son" survive), only to undercut it by unmasking the fraudulent hero. In the same way that CINQUE BAMBOLE PER LA LUNA D'AGOSTO builds sympathy for an apparently sympathetic and victimized character only to reveal the villain lurking beneath the surface, so does this film hinge on an ironic revelation. Yet whereas CINQUE BAMBOLE, by virtue of its poor script and sketchy characterizations, only comes off as a limp joke, CANI ARRABBIATI is genuinely unsettling. Riccardo, brilliantly portrayed by Riccardo Cucciolla, is not a pillar of strength or morality; he merely seems to be a decent, ordinary man who is trapped in a nightmarish scenario. By revealing him to be a villain, Bava suggests that anybody is capable of being a murderer and, as the title suggests, the border between "civilized" behavior and animalistic conduct is tenuous at best.
Bava's inventive visual style helps to make this film one of the most intense and claustrophobic films ever made. Placing the characters in the microcosmic confines of a car for most of the running time already insures a certain degree of claustrophobia, but Bava adds to this in other ways. Especially effective is the way that Bava frames the actors: there are many tight close-ups, and group shots are framed in such a way that the performers on the periphery of the frame are cropped in half. Normally this would inspire claims of bad composition, but here it adds to the tension considerably. For 96 minutes, the viewer truly feels as though he/she is trapped along with the characters. Furthermore, Bava gives the film a hazy, humid look -- the sky seems to blaze with white heat, therby making an already uncomfortable situation almost unbearable.
The fact that this masterpiece -- Bava's last great work for the cinema -- remained unshown for so many years is nothing short of a travesty. However, now that the film is available, anybody with a serious interest in cinema is advised to search it out. It is truly one of Bava's greatest works.
Review © Troy Howarth
Source: Anchor Bay R1
File Name .........................................: Cani.Arrabbiati.1974.DVDRip..XViD.Commentary.ToNiC.avi
File Size (in bytes) ............................: 1,172,006,912 bytes
Runtime ............................................: 1:36:14
Video Codec ...................................: XviD 1.1.2 Final
Frame Size ......................................: 688x368 (AR: 1.870)
FPS .................................................: 23.976
Video Bitrate ...................................: 1450 kb/s
Bits per Pixel ...................................: 0.239 bpp
B-VOP, N-VOP, QPel, GMC.............: [B-VOP], [], [], []
Audio Codec ...................................: 0x0055 MPEG-1 Layer 3
Sample Rate ...................................: 48000 Hz
Audio Bitrate ...................................: 80 kb/s [1 channel(s)] CBR
No. of audio streams .......................: 2 [Italian + Commentary by Tim Lucas]
Cani.Arrabbiati.1974.DVDRip.XViD.Commentary.ToNiC.avi
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