Nove ospiti per un delitto (Ferdinando Baldi, 1977)
IMDb
Thriller
Writer: Fabio Pittorru
Cast:
Sofia Dionisio ... Carla (as Flavia Fabiani)
Massimo Foschi ... Michele
Dana Ghia ... Elisabetta
Arthur Kennedy ... Ubaldo - old man
Caroline Laurence ... Giulia
Loretta Persichetti ... Patrizia
John Richardson ... Lorenzo
Rita Silva ... Greta
Venantino Venantini ... Walter
[quote]SUMMARY
A patriarch takes his family for a holiday to a secluded Mediterranean island with a mysterious past. While the family members occupy themselves with cheating on each other, an unidentified killer begins to pick them off one by one.
NOTES
Judging by the title I was expecting a murder mystery with a closed setting echoing Agatha Christie's famous literary work. While Christie goes once again uncredited, her fingerprints can be seen on the story. Fernando Baldi's Nine Guests for a Crime (Nove ospiti per un delitto, 1977) takes the classic Ten Little Indians plot and throws in bundles of gratuitous nudity and stalk-and-slash violence for flavour.
Like many of its counterparts this film starts with a bang. In a great set piece on a sandy beach of a Mediterranean island a young man is brutally gunned down by several shotgun blasts for making sweet love to the wrong woman. After shooting him in the knee-caps and face, the shooters continue to bury him in a shallow grave while he's still alive.
Then the story leaps ahead twenty years. Patriarch is taking his family, consisting of his much younger wife, sister, three sons and their wives, for a two-week vacation to a villa on the very same island. His daughter-in-law Patrizia's ramblings about voices telling her not to come to the island, because terrible things are about to happen, give us an idea what the film has in store for us. “How can we be jolly [...] on this island, where you can smell death in the air,” she asks. Oh boy!
In no time we're exposed to this dysfunctional family in all its glory. In midst of constant bickering and verbal backstabbing they occupy themselves with cheating on each other, giving little thought of hiding it. When one of the sons sleeps with his brother's wife and Patrizia is seen taking a shower in her see-through gown, camera licking every inch of her body, there's no doubt that we're watching a exploitation film of the highest caliber. The shower scene, featuring Loretta Persichetti, is the sleaziest ever captured on celluloid for a giallo film.
All the sex and adulterous relationships are tossed aside, excuse the pun, in the second act, when someone goes missing and the yacht, which they came to the island with, is nowhere to be found. From there on the film focuses on the thriller side. Characters are trying to figure out what's happening, putting aside most of their differences. Eventually the guests begin to be dispatched one by one in various elaborate ways. The killer's arsenal range from exotic harpoon guns and silenced pistols to more traditional choices. He even suffocates one victim with a pillow and strangles another with a piece of rope. However, the most memorable set piece is when the killer uses a sand pit and fishing net to trap his victim and continues to burn him with generous amount of gasoline.
While the backstory is definitely woven in pure giallo tradition, the third act could be easily considered a part of next decade's slasher, only teens are missing, up until the killer's identity is ungloriously revealed in predictable climax. The only exception is that the killer doesn't really stalk his victims. Murders just happen and, without batting an eyelid, the narrative goes on.
Great male cast, lead by top-billed Arthur Kennedy as the father with John Richardson, Venatino Venetini and Massimo Foschi as his sons, is accompanied by an assortment of unknown actresses, who cannot keep their clothes on. No less than three of them are shown completely nude within the first thirty minutes.
All characters are portrayed as morally ambiguous, inept, crazy or just plain stupid. There's no positive character in the bunch. Their unsympathetic nature is emphasized by Baldi's choice of juxtaposing them with trivial contraptions found in the villa. This gives a sense that Baldi considers his characters just like these lifeless objects: amusing at first but eventually expendable, shallow, even irritating, especially to others. These gizmos along with everyday objects also make a contribution to the aural side of the film. Baldi uses Carlo Savina's low-key music sparingly. Instead the soundtrack consists largely of sounds these widgets make and the ever-blowing wind. Although this juxtaposition gives the production a touch of unexpected class, we're reminded of what kind of a film this is by the sheer amount of product placement (J&B!) shots. They must really like their whiskey.
Baldi uses his beautiful deserted island setting to maximum effect. The film is ridden with gorgeous outdoor shots as good portion of the film happens outside on the rocky beaches in bright daylight. However, no one can argue that Nine Guests for a Crime is particularly stylish.
Despite of its confusing premise and endless possibilities, due to the number of characters, Nine Guests for a Crime, written by Fabio Pittorru, boils down to a by-the-numbers bodycount giallo providing no chills and a handful of thrills. If you don't take the film too seriously, you're treated with a gripping example of throwaway cinema from the director of Blindman and Texas Addio.[/quote]
Daeron en KG:
N.O.p.u.D.1977.DVDRip.XviD.KG.avi 
(DVDRip V.O. "emulizado")
Subtítulos en inglés
IMDb
Thriller
Writer: Fabio Pittorru
Cast:
Sofia Dionisio ... Carla (as Flavia Fabiani)
Massimo Foschi ... Michele
Dana Ghia ... Elisabetta
Arthur Kennedy ... Ubaldo - old man
Caroline Laurence ... Giulia
Loretta Persichetti ... Patrizia
John Richardson ... Lorenzo
Rita Silva ... Greta
Venantino Venantini ... Walter
[quote]SUMMARY
A patriarch takes his family for a holiday to a secluded Mediterranean island with a mysterious past. While the family members occupy themselves with cheating on each other, an unidentified killer begins to pick them off one by one.
NOTES
Judging by the title I was expecting a murder mystery with a closed setting echoing Agatha Christie's famous literary work. While Christie goes once again uncredited, her fingerprints can be seen on the story. Fernando Baldi's Nine Guests for a Crime (Nove ospiti per un delitto, 1977) takes the classic Ten Little Indians plot and throws in bundles of gratuitous nudity and stalk-and-slash violence for flavour.
Like many of its counterparts this film starts with a bang. In a great set piece on a sandy beach of a Mediterranean island a young man is brutally gunned down by several shotgun blasts for making sweet love to the wrong woman. After shooting him in the knee-caps and face, the shooters continue to bury him in a shallow grave while he's still alive.
Then the story leaps ahead twenty years. Patriarch is taking his family, consisting of his much younger wife, sister, three sons and their wives, for a two-week vacation to a villa on the very same island. His daughter-in-law Patrizia's ramblings about voices telling her not to come to the island, because terrible things are about to happen, give us an idea what the film has in store for us. “How can we be jolly [...] on this island, where you can smell death in the air,” she asks. Oh boy!
In no time we're exposed to this dysfunctional family in all its glory. In midst of constant bickering and verbal backstabbing they occupy themselves with cheating on each other, giving little thought of hiding it. When one of the sons sleeps with his brother's wife and Patrizia is seen taking a shower in her see-through gown, camera licking every inch of her body, there's no doubt that we're watching a exploitation film of the highest caliber. The shower scene, featuring Loretta Persichetti, is the sleaziest ever captured on celluloid for a giallo film.
All the sex and adulterous relationships are tossed aside, excuse the pun, in the second act, when someone goes missing and the yacht, which they came to the island with, is nowhere to be found. From there on the film focuses on the thriller side. Characters are trying to figure out what's happening, putting aside most of their differences. Eventually the guests begin to be dispatched one by one in various elaborate ways. The killer's arsenal range from exotic harpoon guns and silenced pistols to more traditional choices. He even suffocates one victim with a pillow and strangles another with a piece of rope. However, the most memorable set piece is when the killer uses a sand pit and fishing net to trap his victim and continues to burn him with generous amount of gasoline.
While the backstory is definitely woven in pure giallo tradition, the third act could be easily considered a part of next decade's slasher, only teens are missing, up until the killer's identity is ungloriously revealed in predictable climax. The only exception is that the killer doesn't really stalk his victims. Murders just happen and, without batting an eyelid, the narrative goes on.
Great male cast, lead by top-billed Arthur Kennedy as the father with John Richardson, Venatino Venetini and Massimo Foschi as his sons, is accompanied by an assortment of unknown actresses, who cannot keep their clothes on. No less than three of them are shown completely nude within the first thirty minutes.
All characters are portrayed as morally ambiguous, inept, crazy or just plain stupid. There's no positive character in the bunch. Their unsympathetic nature is emphasized by Baldi's choice of juxtaposing them with trivial contraptions found in the villa. This gives a sense that Baldi considers his characters just like these lifeless objects: amusing at first but eventually expendable, shallow, even irritating, especially to others. These gizmos along with everyday objects also make a contribution to the aural side of the film. Baldi uses Carlo Savina's low-key music sparingly. Instead the soundtrack consists largely of sounds these widgets make and the ever-blowing wind. Although this juxtaposition gives the production a touch of unexpected class, we're reminded of what kind of a film this is by the sheer amount of product placement (J&B!) shots. They must really like their whiskey.
Baldi uses his beautiful deserted island setting to maximum effect. The film is ridden with gorgeous outdoor shots as good portion of the film happens outside on the rocky beaches in bright daylight. However, no one can argue that Nine Guests for a Crime is particularly stylish.
Despite of its confusing premise and endless possibilities, due to the number of characters, Nine Guests for a Crime, written by Fabio Pittorru, boils down to a by-the-numbers bodycount giallo providing no chills and a handful of thrills. If you don't take the film too seriously, you're treated with a gripping example of throwaway cinema from the director of Blindman and Texas Addio.[/quote]
Daeron en KG:Código: Seleccionar todo
File Size (in bytes) ............................: 1,172,461,898 bytes
Runtime ............................................: 1:27:36
Video Codec ...................................: XviD ISO MPEG-4
Frame Size ......................................: 704x400 (AR: 1.760)
FPS .................................................: 25.000
Video Bitrate ...................................: 1709 kb/s
Bits per Pixel ...................................: 0.243 bpp
B-VOP, N-VOP, QPel, GMC.............: [B-VOP], [], [], []
Audio Codec ...................................: 0x0055 MPEG-1 Layer 3
Sample Rate ...................................: 48000 Hz
Audio Bitrate ...................................: 75 kb/s [1 channel(s)] VBR
No. of audio streams .......................: 1