A reporter uses his correspondence with a serial killer for money and power in the cultural satire/giallo The Monster. The 1977 Luigi Zampa film comes to Blu-ray via Radiance Films this month.
The Film
The Monster, directed by Luigi Zampa in 1977, is an interesting take on the giallo, with a unique point of view and method. It’s less about setting up weird murder sequences, which here are nearly always seen after the fact, and more about the characters, with the script by Once Upon a Time in the West’s Sergio Donati functioning as a satire of crime obsession and media output. It’s an intriguing little flick, a keen niche Radiance Films specializes in for finding for modern audiences.
Johnny Dorelli is Valerio Barigozzi, a journalist on the fall. With falling readership and other workplace issues, he’s relegated to the basement and the “Women’s Magazine” (staffed entirely by misogynist men, of course) to answer relationship questions. In his pile of questions, he finds a note from someone who says they’re going to murder a TV host and calls themselves “The Monster.” As the murder, and others, come to fruition, Barigozzi becomes the focus of the killer, with th Monster reaching out to Barigozzi. This leads to the real crux of the film: Barigozzi rises to fame with his writing and “insight”, leading the charge on a media circus. It’s a pointed idea, especially as it grows more reactionary, speculative, and clearly sensational, with the newspaper even creating comic-book characters based on the unknown murderer.
The killer calls themselves the Monster, but our lead is also a despicable monster too, but in a different way. Akin to Billy WIlder’s 1951 Ace in the Hole, or perhaps Nightcrawler, the 2014 film from Dan Gilroy (if either of these slipped your radar, check them out now), our “hero” is a fascinating protagonist in how they create a media circus, becoming the face of the crime, but is also a user and abuser where the fame and spotlight push up personality issues, finding the worst in the increased fame. Barigozzi is already an ass, talking through his own watching of a giallo (Death Walks in High Heels, btw; as he leaves, it’s cool to see so many posters for other horror films), keying cars, berating old women, and getting into it with his ex-wife. A philanderer, jerk, and all-around self-promoting ass, he’s a terrible person.
Thus, the shift in focus. The Monster is less on the set pieces and more on the world and media circus around them. Especially as they get closer and closer to the Monster and possibly implicating Bargozzi. Thus, The Monster is less about cool murders, but more about how people use the murders to help themselves. It functions as a satire of the press and public’s fascination with murders and questions whether the recognition drives killers?
It’s a good one. Not great, though some ideas, while important, don’t feel fully fleshed out, and for a while it hums without changing tone. But overall, it’s a nice twist. And as a mostly lost niche picture, it may be new to many viewers.
Packaging and presentation
Radiance puts The Monster on a single-disc Blu-ray; the first time it’s had a home release outside of Italy! The disc features the title on a light blue background, pressed into a clear, thick case that also holds the booklet. The sleeve is reversible, with original art on one side and new art by Time Tomorrow on the other. Radiance’s informational Obi-strip is removable, leaving the image clear.
Spine #206.
Radiance restored the transfer from the original negative to 2k. It’s good, a little soft, but as often is the nature of the project. There are some artifacts throughout, but overall it is clear and distinct. Like Italian films of the era, it has a keen eye for visuals and great use of color. And that mostly comes through with aplomb. The audio is original mono; also fine, but if you know Italian cinema of the era, you know how it sounds. In Italian with English subtitles.
Features
Commentary (new)
Giallo experts Rachael Nisbet and Peter Jilmsad have a good talk of the themes of the film, how they reflect Italy of the time (so many of the Italian films I’ve covered for Radiance reflect Italy and the cultural shifts of their eras!), how it relates to and talks to the Giallo genre, and overall the creation of the film, the ol’ who’s who. Good stuff. In English.
Interviews (2002)
Actors Sydney Rome, Renato Scarpa, Enzo Santaneillo, and makeup artist Pierantonio Mecacci reflect on the film, where it fits in their careers, what it was like to make, and how it speaks to fame. Lots of love to lead Johnny Dorelli, who was called the Italian Frank Sinatra. Good stuff (45m) in Italian with English subtitles.
Richard Dyer
Italian expert Richard Dyer offers a strong appreciation of the film, digging into the ramifications of the title (as I did with “Who Is the Monster” notes above), how it folds on society, and how it relates to the genre. (32m)
Booklet
Included is a 28-page stapled booklet. It includes a new essay, “My Son, My Son, What Have You Done?” by Roberto Curti, which examines the script’s history (it was filmed before, though heavily rewritten) and how the 1977 film reflects Italian journalistic culture. It also includes snippets from 1977 interviews with people involved.
Final thoughts
The Monster is an interesting niche film that uses the giallo to explore the nature of the press and sensationalized violence for profit. Radiance puts together a good package for a solid film.