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House Of Psychotic Women Rarities Collection (Severin Films) Blu-ray Review

    Ian Jane

  • House Of Psychotic Women Rarities Collection (Severin Films) Blu-ray Review

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    Released by: Severin Films
    Released on: October 25th, 2022.
    Director: Giuseppe Patroni Griffi/ Grzegorz Warchol/Luigi Bazzoni/Jane Arden
    Cast: Ian Bannen, Andy Warhol, Katarzyna Walter, Jonasz Kofta, Evelyn Stewart, Nicoletta Elmi, Klaus Kinski, Sheila Allen, Ann Lynn, Jane Arden
    Year: 1974/1986/1975/1972
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    House Of Psychotic Women Rarities Collection – Movie Review:

    Severin Films unleashes a quartet of thematically linked genre efforts with their latest Blu-ray boxed set edition, House Of Psychotic Women Rarities Collection. Named after the book by author Kier-La Janisse, who curated the set and provides filmed introductions for each of the four pictures in the collection, the set provides high definition home video debuts for each of the four movies contained herein.

    Disc One - Indentikit:

    Released domestically in North America under the alternate title of The Driver's Seat, Giuseppe Patroni Griffi's 1974 film, Identikit, was based on a novel by Muriel Spark and stars Elizabeth Taylor in the lead role as a woman named Lise. She's a demanding woman and not always the friendliest person to be around.

    A fair ways into the movie, she flies off to Rome, Italy for no obvious reason only to then start to act stranger than we've seen her act in the movie to this point. She becomes increasingly obsessed with pictures and textures and, seemingly, her own physical presence and tangible persona. Despite the fact that her behavior is clearly odd, she isn't hurting anyone and on one seems to pay her much mind. While all of this is going on, political unrest in Italy starts to hit its boiling point and Lise is almost killed when a terrorist plot is unleashed nearby. Making matters worse, she's sexually assaulted in a car shortly after.

    As she starts to crack, she also starts to get strange glimpses of the future wherein the local cops start grilling the men she's been seeing to see if they have any connection to the spate of terrorism going on - all while Lise befriends the kindly old Mrs. Helen Fiedke (Mona Washbourne), dodges the advances of an Englishman named Bill (Ian Bannen) and tries to find the right man for herself, with a very specific mission in mind for him.

    Beautifully shot by Vittorio Storaro, Indentikit is a decidedly odd film even by the decidedly odd standards of Italian cinema of the 1970’s. Featuring none other than Andy Warhol in a small but interesting role as an English Lord, the movie is a visually stunning affair that isn’t the most narratively concise picture you’re ever going to see but which has no trouble holding our attention. Storaro’s cinematography frequently overshadows the performers in the film, presenting an Italy that is as hip as modern as they come. It’s a remarkably slick looking picture set to a pretty solid score from Franco Mannino and Griffi does a really nice job of building suspense, particularly in the film’s final half hour where Lise’s quest comes to fulfillment.

    It’s all very odd. The narrative has a lot of loose ends and plot holes that are never quite satisfyingly resolved and we spend too much time watching Lise go shopping and berate restaurant and shop employees, but Taylor’s embracing the role wholeheartedly and showing a determined commitment to really just going for it with her performance make this not just watchable, but bizarrely compelling and, at times, even engrossing. Taylor’s wardrobe and garish hair and makeup is almost worth the price of admission alone but to see her chew the scenery and deliver some absurd dialogue relating to eating and orgasming is just the icing on this seriously bizarre cinematic cake.

    Disc Two – I Like Bats:

    Directed by Grzegorz Warchol from a screenplay he co-wrote with Krystyna Kofta and released in 1986, I Like Bats (Lubie nietoperze in its native Poland) tells the rather odd story of a beautiful young woman named Izabela (Katarzyna Walter who, oddly enough, showed up briefly in the 2004 Steven Seagal movie Out Of Reach) who works in an antique shop run by her aunt.

    Izabela, however, is more interested in bats than antiques. She also has an odd tendency to disguise her blonde locks with a dark wig and head into the seedier sides of her home town late at night to drink the blood of some of the men who are out and about looking for trouble in the various bars and nightclubs that populate the area. Izabela would much rather live her life as a human, than as a vampire though, and to make this happen she gets help from a potentially gay therapist named Professor Rudolf Jung (Marek Barbasiewicz), a doctor with some rather unusual methods, and winds up temporarily institutionalized in an impressively pretty castle.

    It isn't long before Izabela starts to fall for Jung, who, along with his associates, is perplexed by Izabela's condition and x-ray results.

    A quirky dark comedy with frequent moments of unorthodox romance and drama all by way of a gothic vampire tale, I Like Bats is definitely lighter fare than the other movies in this collection but it certainly deserves its place alongside the other three films. Grzegorz Warchol, who also worked as an actor most notably in Krzysztof Kieslowski's Three Colors: White in 1994 and who also has a supporting role in the picture as one Professor Wolf, directs with a fair amount of breezy style. We never get the impression that we’re supposed to take this completely seriously, as the comedic moments are reasonably common, but parts of the film are more serious than others and give the talented cast, the lovely Katarzyna Walter in particular, a chance to deliver interesting and engaging performances.

    The production values in the movie are quite good. The cinematography by Krzysztof Pakulski, who shot one episode of Kieslowski’s Dekalog, is always interesting, using odd angles and lighting techniques to build mood and atmosphere and to even infuse the film with some gothic style in a few scenes. Zbigniew Preisner, who composed the music for all three parts of Kieslowski’s Three Colors trilogy, contributes the score which suits the tone of the movie perfectly.

    The movie is devoid of blood and there isn’t even much in the way of fang-bearing. Don’t go into this one expecting much of a horror movie, despite a few eerie moments, as you won’t get one. That said, those who can appreciate different takes on the vampire cliché and can appreciate a slow burn should find this wholly unique picture quite rewarding.

    Discs Three And Four - Footprints:

    Also known as Footprints On The Moon and as Primal Impulse (or as Le orem in its native Italy), Luigi Bazzoni's 1975 film, Footprints, stars the striking Florinda Bolkan as Alice Campos. She works in Italy as a translator and has odd recurring flashbacks to an old movie called Footprints On The Moon where she sees an astronaut abandoned on the moon. Alice also may have a sleeping pill dependency problem.

    One day, when she heads into work, she's shocked to be fired. It turns out that she missed three days, but she has no recollection of that whatsoever. Without anything else to do, she heads back home where she finds the remains of a turn up postcard from the Garma Hotel. Without anything else to work off of, she travels to Garma to explore the hotel and see if she can find out any more information about what happened to her.

    Once in Germa, Alice meets an odd woman named Paola Bersel (Nicolette Elmi) and a man named Henry (Peter McEnery). These two, along with a few others, address her not as Alice, but as Nicole and seem to know a lot more about her missing three days than she does.

    Those looking for a traditionally sex and violence laden Giallo won’t find what they’re looking for with this picture, as it’s decidedly light on salaciousness and exploitative elements but Bazzoni's film, based on Mario Fanelli's novel and shot from a screenplay that the director co-wrote with Fanelli (who appears to have been an uncredited co-director on the movie as well), is a really suspenseful and very stylish slow burn. Beautifully shot by Vittorio Storaro and set to an interesting score from Nicola Piovani, the film boasts strong production values and great location work. It always looks slick and polished, and the deliberate pacing allows the plot to unfold at a decent pace, giving us interesting moments of character development to help build the film’s central mystery.

    Bolkan is excellent in the lead. She looks great in the part and plays her role with an appropriate sense of confusion. We have no trouble accepting her as Alice, she’s a very good fit for the character. Nicolette Elmi and Peter McEnery are also very good. It’s also worth mentioning that Klaus Kinski has a small role as the astronaut in the Footprints On The Moon footage and Evelyn Steward has a brief supporting role in the film as a mysterious woman named Mary.

    Note that Severin has included the ninety-three minute U.S. cut of the movie as well as the ninety-six minute Italian cut of the film in this set, each on their own separate discs.

    Disc Five – The Other Side Of The Underneath:

    Written and directed by ardent feminist artist Jane Arden, though often times completely improvised, 1972's The Other Side Of The Underneath is a filmed adaptation of the artist's own theatrical production, A New Communion For Freaks, Prophets And Witches.

    Light on narrative but rife with unsettling depictions of insanity, the movie introduces us to a woman referred to as Meg The Peg (Sheila Allen, who will be recognizable to some as Number Fourteen on The Prisoner!) who suffers from schizophrenia. After a breakdown and a suicide attempt, she's put in an asylum located near a remote, rural village for psychiatric treatment and therapy. From here, we witness Meg's interactions with other inmates and witness various incidents and episodes all relating to madness and the exploitation of women.

    As the movie builds towards a few different chaotic set pieces, we're left questioning if, to regain their sanity, these women must first go insane, and if they aren't being liberated through their various experiences.

    Shot in a remote mining community in Wales with a low budget and a lot of LSD, The Under Side Of The Underneath is almost unclassifiable. As unique an experimental film as you’re ever likely to see, the movie is as compelling as it is fiercely angry. Shot with a rough and tumble style that almost seems better suited for a documentary, the movie isn’t always an easy one to watch, but it’s fascinating regardless. With many of the cast members on acid and clearly under the influence of the psychedelic drug, and its director reportedly heavily intoxicated throughout most of the shoot herself, the movie makes great use of a score that is heavy on strings and which somehow adds to the overall feel of insanity that Arden and company capture with the project.

    The whole thing has a very free-flow vibe to it, not always concerned with narrative sense or logic but more interested in displaying controversial and taboo busting imagery and strange, surreal tableaus. The performances are, quite understandably given the state these women were in, hardly conventional and often times hysterical, and you’ll have no trouble believing that the players cast as the inmates are indeed quite insane. Arden, who wrestled with mental illness and committed suicide in 1982, clearly invested a lot of herself in the movie, and while it can be a challenging film to enjoy, it’s absolutely one worth seeing for its unrepentantly confrontational and challenging nature.

    House Of Psychotic Women Rarities Collection – Blu-ray Review:

    Indentikit is presented restored in 4K by Cinematheque of Bologna and Severin Films and framed at 1.85.1 on a region A disc. The AVC encoded 1080p high definition presentation is given a healthy bit rate on the 50GB disc and it looks very nice. There are a few spots were you might notice some minor print damage but, for the most part, the image is pretty clean. Colors look nice and natural here, the film’s rather grim color scheme is reproduced quite nicely. The picture always looks like a proper film transfer with plenty of noticeable natural grain, while still boasting strong detail alongside good depth and texture.

    I Like Bats is taken from a new 2k scan of the only known surviving 35mm elements and framed at 1.66.1 on a region free 25GB disc. The AVC encoded 1080p high definition picture isn’t in perfect shape but it’s certainly more than watchable. Likely taken from a print in less than perfect condition, expect to see some print damage, but nothing that will take you out of the movie or prove distracting. Colors look good and black levels are solid. Shadow detail can be little less than perfect at times but we get good depth and texture throughout the presentation which is devoid of any noticeable issues with compression or noise reduction.

    Footprints is taken from a 4k scan of the original 35mm negative and framed at 1.85.1, each cut on its own region A locked 50GB disc. Again, presented in AVC encoded 1080p high definition, both cuts look comparable in terms of picture quality, and that’s a good thing. The transfers here are very strong, with strong depth and very good color reproduction. Detail is impressive throughout and you’ll be hard pressed to find even a speck of print damage, although the film grain you’d expect to see is still here, with the image never looking artificially processed or scrubbed of its filmic qualities.

    The Other Side Of The Underneath is taken from a recent 2k restoration conducted by the British Film Institute and framed at 1.33.1 on a region free 50GB disc. The AVC encoded 1080p high definition transfer looks very good, though keep in mind that this is a naturally grainy film. There are sporadic bits of minor print damage noticeable in a few spots but nothing that should upset anyone, just odd specks here and there. Black levels are good and colors look excellent. Detail varies from scene to scene, with some shots looking to have been shot with an intentional softness in mind, but overall, it’s quite strong and this turns out to be a very nice looking transfer.

    Indentikit featured English and Italian language Mono options with optional English subtitles. The English track works better here, with Taylor’s real voice clearly used on the track. It’s a clean, properly balanced mix with some nice depth in regards to how the score is reproduced.

    I Like Bats is presented in its original Polish language in 24-bit DTS-HD Mono with optional English subtitles. The audio quality on the disc is fine. The track is clean, clear and balanced and the subtitles are easy to read. The score, which occasionally uses a little bit of disco, has better range than you might expect. No problems here.

    Each version of Footprints vets 24-bit DTS-HD 2.0 Mono English and Italian Mono options with optional English subtitles provided for each track. Quality is solid across the board, the audio is balanced and clear, there are no issues with any hiss, distortion or sibilance.

    The Other Side Of The Underneath is presented in its original English language with a 24-bit DTS-HD Mono track and with optional English subtitles. The sound mix on this movie is reasonably insane, very heavy on strings, and the lossless track on this disc does a really nice job of bringing it to life. Some of the dialogue sounds a tad muffled in spots but overall, this is balanced well and sounds pretty solid.

    Extras are spread across the five discs in the set as follows:

    Disc One - Indentikit:

    A six minute introduction By Kier-La Janisse (sporting an excellent Jamie Gillis shirt) starts the extras off. She offers up some welcome detail on Muriel Spark’s life and career as well as some thoughts on Elizabeth Taylor’s character and what she goes through in the film.

    From there, dig into the audio commentary with TCM Underground Curator Millie De Chirico that goes into plenty of detail about Sparks writing and the source novel as well as details on Taylor’s personal life at the time and how it may have affected her work here. She also goes over the strength of some of the visuals and discusses some of the social and political events that crept into the movie. It’s a solid commentary up until the half way mark, at which point the track is plagued with a lot of dead air.

    A Lack Of Absence — Writer And Literary Historian Chandra Mayor On Muriel Spark And The Driver's Seat is a twenty-two minute featurette that that does a deep dive into Spark’s often times challenging and controversial work. It’s an interesting analysis of what makes the writer’s output as interesting and it features some revealing archival interview clips with the author herself that are fairly illuminating.

    Finishing up the extras are a trailer for the feature, opening and closing titles for the alternate The Driver’s Seat version, menus and chapter selection options.

    Disc Two – I Like Bats:

    Kier-La Janisse provides an introduction to this feature as well, this one running just over ten minutes. It’s insightful, offering up some welcome context as to the folkloric origins of the story and an interesting analysis of some of the characters and some of the metaphors and symbolism featured in the movie.

    The disc also includes a commentary with Kamila Wielebska, Actor and Co-Editor of A Story Of Sin: Surrealism In Polish Cinema. It’s unconventional and very dramatic in its delivery, opening with a Bela Lugosi impersonation, but genuinely interesting and frequently quite humorous. It’s definitely worth a listen as she goes over how the film plays with audience expectations in terms of its horror movie branding, the visuals on display in the movie and much of the set design, thoughts on the different characters that populate the movie, elements of Polish history and society that shaped the movie, literary influences that work their way into the movie and quite a bit more.

    A TV Spot, menus and chapter selection options finish up the extras on this second disc.

    Discs Three And Four - Footprints:

    Disc three, which holds the U.S. cut of the movie, once again includes an introduction by Kier-La Janisse, this one running just under seven minutes. She goes over Balkan’s career and better known films before going on to discuss details of specific characters, giallo tropes, the look of the film and the town where it takes place and thoughts on Balkan’s character in the movie.

    To The Moon — An Interview With Actress Ida Galli runs twelve minutes and sees the actress better known as Evelyn Stewart discuss how she always loved seeing famous actors do cameos in films, how she wound up getting into acting, wanting to appear in as many films as possible regardless of genre, her thoughts on Footprints, how much energy Bolkan had while making the movie, thoughts on the lighting and the directing and how she feels about the movie and her work in in many years later.

    Nicoletta Elmi: Italian Cinema's Imp Ascendant — A Video Essay By Film Scholars Alexandra Heller-Nicholas And Craig Martin runs twelve minutes and goes over how Elmi started as a child model in 1968 before moving on to TV commercials and then appearing in Death In Venice, A Bay Of Blood and Baron Blood which made her the 'go to girl' for certain roles. We then hear about her work in Deep Red, Footprints, Who Saw Her Die, Flesh For Frankenstein and her most substantial role in The Night Child before then starring in Demons as an adult. The piece then dissects her different characters, what made her work different and the importance of her role in Footprints.

    The Italian Cut, on disc four, starts off with an audio commentary with Kat Ellinger that covers the different titles the film has gone under and why she prefers Footprints, details of Luigi Bazzoni's career, the sci-fi mold of the opening sequence, how the film compares to other more experimental giallo-esque pictures, Ida Galli's small but important part in the movie, what Bolkan brings to the movie and what sets her apart from other actresses, the low key directing style used in most of the movie and how effective it is when it builds to the film's finish, Vittorio Storaro's cinematography and Nicol Piovani's score, the film's connections to various Italian arthouse films, the gothic elements of the story, the likely influence of Hitchcock's Vertigo and quite a lot more.

    This disc also includes Light Of The Moon — An Interview With Cinematographer Vittorio Storaro that runs for an hour and eighteen minutes. This lengthy and in-depth discussion goes over how he came to work in the industry thanks to his father's position as a cameraman, meeting people who he would form lifelong friendships with, getting his start in the business, meeting Bazzoni and coming to work with him, the state of Italy at this period in time and how it affected different projects, working with Corbucci and Franco Nero, becoming part of a group of filmmakers all interested in putting their creativity on screen. As the piece goes on, he talks about working with Franco Rossi, moving on from doing shorts to features, making the move from camera operator to cinematographer, what he tried to bring to various projects with his compositions, the importance of collaboration and the specifics of shooting Footprints.

    Lastly, we get a trailer for the feature as well as menus and chapter selection.

    Disc Five – The Other Side Of The Underneath:

    The last disc once again starts off with an introduction by Kier-La Janisse. This one runs for nine minutes and covers Jane Arden's career, how Janisse came to know of the film, the film's depictions of psychiatry, her thoughts on the movie after seeing it for the first time going in blind, the stage play that Arden worked on that inspired the movie, how the movie is the only British film on record to have been directed by a woman in the seventies, the collaborative nature and energy in the movie, the use of LSD on set and what she's learned about the movie since including it in her book.

    Severin has also included the Extended Workprint Version of the movie, which runs roughly twenty-four minutes longer at one hundred and thirty minutes in length. The trimmed down feature version is likely going to be more palatable to most viewers, but it’s great to see both cuts included here.

    The Sheila Allen Interview is an archival piece from 2007 that runs twenty-nine minutes and covers how she came to know and collaborate with Arden, what she knew of Arden's background and her relationship with Philip Saville, the effects of her personal life on her career, memories of working on different stage projects with her and what Arden was like to work with. She then talks about what it was like working on The Other Side Of The Underneath, keeping herself well away from a lot of what was happening on the set, how she was there under her own duress but had to put up with Arden's demands and what she feels like Arden was trying to accomplish with the film.

    The Natasha Morgan Interview runs ten minutes and is an archival piece from 2007. In it, she talks about how she came to meet Arden, getting involved in the production, thoughts on the theatrical production that inspired the movie, Arden's want to explore women’s' pain and therapy, why she feels the film is embarrassing in hindsight because it is very exploitative, how she originally went to the shoot to cook and eventually found her way into the film, Arden's tendency to drink heavily on set, how the rest of the female cast members were on LSD, how the film is, at its core, a study in madness and how a few people died around the making of the film while others went legitimately mad.

    Thirty-four minutes of Extended Sequences are up next, presented without any commentary or context. They're very much in keeping with what we see in the feature, often times made up of strange, surreal imagery that can be horrifying and trippy all at the same time. There are scenes of dialogue and possibly drug inspired soliloquies here, as well as bits that are layered sequences of surrealism, sometimes using what looks to be World War II footage overtop of Arden's actresses essentially freaking out. Quieter moments are few and far between. We also get some extra material from some of the group therapy sessions, bits from the strip show at the bar, a bloody attack set to jazz and more. It is, like the feature, all fairly insane.

    Penny Slinger Live At The Miskatonic Institute Of Horror Studies runs a whopping two hours and fifteen minutes and it lets the actress, introduced by Kier-La Janisse and in discussion with Jacqueline Castel, speak about a documentary made about her life called Out Of The Shadows, how she started working with various motifs using herself as her own muse early in her career and has been running with it ever since. As the talk progresses, we learn about her work as a photographer and her book "An Exorcism", her penchant for exploring sexual imagery and fetishism as well as surrealism, different media that she's used in her art over the years, why she likes to work with masks, her life-casting work, her relationship with filmmaker Peter Whitehead and the projects that they worked on together and where inspiration for different pieces came from. She also speaks at length about how she came to know and work with Jane Arden, what she was responsible for on The Other Side Of The Underneath, the use of LSD in the movie and what her experiences with the drug were like during the making of the movie, how much distress Arden was under during this period, memories of shooting specific scenes in the movie, some of the symbolism employed in the movie, how the idea of sacrifice ties into the movie in a very real way, her work on Vibration with Arden and Jack Bond and loads more.

    Finishing up the extras on the disc is a trailer for Penny Slinger: Out Of The Shadows, menus and chapter selection options.

    As to the packaging in this set, each movie gets its own black keepcase with unique cover art. These all fit inside a nicely designed and sturdy cardboard, top-loading box. It’s a very handsome looking edition. Inside the keepcase for The Other Side Of The Underneath is a postcard insert for The Miskatonic Institute Of Horror Studies.

    House Of Psychotic Women Rarities Collection - The Final Word:

    The Severin Films Blu-ray release of House Of Psychotic Women Rarities Collection offers up a collection of four films that are as eclectic as they are compelling, each taking its own unique path into the depths of insanity, bringing the viewer along for the ride. The presentation quality is strong for each of the four films in the set and the extras offer welcome analysis and context for each of the features. All in all, this is a very well-rounded collection of four films that really should be seen and appreciated by a wider audience. Highly recommended.

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