Your filmmaking approach was cutting-edge, vivid and austere.
In some instances, the content leaned on murder and revenge (violence often for the sheer, shivering sake of it), but no matter the categorization, your visionary flair hooked the senses and squeezed hard.
The Designated Victim, Short Night of Glass Dolls, Who Saw Her Die?, Last Stop on the Night Train (aka The Night Train Murders/Late Night Trains), Woman Buried Alive, The Inspector's Children, Dark Friday, The Chance, The Cousin, Perfect Alibi (aka Circle of Fear), Scirocco (aka Sahara Heat), The Conformist, Disobedience, Crime in via Teulada, Power and Lovers, Love Ritual, The Funny Thing, Chopin's Nocturne and the Star Wars subsidiary, The Humanoid distinguished your ability to switch gears, moving from fright to spectacle to raw melodrama, in each instance with the same remarkable execution.
You deserve greater reverence than you tend to receive, Mr. Lado, but to those of discerning taste, you are as significant as the Bavas, Fulci and Argento: an Italian maestro whose works have left a perennial mark on all who've been blessed to experience them.
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