The Auteurs Film & Cast Member Database
George Rigaud (http://mubi.com/cast_members/101062) is missing from the cast lists of Lizard in a Woman’s Skin (http://mubi.com/films/lizard-in-a-womans-skin) and The Case of the Bloody Iris (http://mubi.com/films/the-case-of-the-bloody-iris).
Cast
Pic :
Quote :
And there is a beautiful thing which is wonderful, to look like a woman, not a green bean.
Bio :
Laetitia Marie Laure Casta (born 11 May 1978) is a French actress and model. Casta became a “GUESS? Girl” in 1993 and gained further recognition as a Victoria’s Secret Angel from 1998 to 2000 and as a spokesperson for cosmetics company L’Oreal. She has appeared on over 100 covers of such popular magazines as Cosmopolitan, Vogue, Rolling Stone, Elle and Glamour, and modeled for designers like Yves Saint Laurent, Jean-Paul Gaultier, Chanel, Ralph Lauren, Tommy Hilfiger, J. Crew, Louis Vuitton, Givenchy, Roberto Cavalli, Lolita Lempicka, and Vivienne Westwood. Casta became an established actress, appearing in the films Gainsbourg (A Heroic Life), Face and Blue Bicycle, as well as the play Ondine at the theatre Antoine.
http://en.wikipedia.org/wiki/Laetitia_Casta
Please add March of the Wooden Soldiers as alternative title for Babes in Toyland.
Quote:
“She is a spontaneous, lively, impulsive creature. I am very stern, and Conchita is so sweet about it. She would go to me and say: ‘I will do that scene much better next time. I will try very hard to get it the way you wish.’” [Ramon Novarro]
Bio:
Conchita Montenegro (San Sebastian, September 11, 1912 – Madrid, April 22, 2007) was a Spanish model, dancer, stage and screen actress. She was educated in a convent in Madrid, Spain. Her sister, Juanita Montenegro, was also an actress.
Montenegro first worked professionally as a model for the famous painter Ignacio Zuloaga y Zabaleta. During her childhood she learnt classical and Spanish dance. She was credited with revolutionizing the presentation of Spanish dances. Montenegro turned from dancing to dramatic acting and starred in numerous productions. She attained theatrical fame in Hollywood, France, and Germany by the time she was thirteen years old. At the age of sixteen, she starred in the French film La Femme et le Pantin (1928), directed by Jacques de Baroncelli.
She came to Hollywood in June 1930 with a contract at Metro-Goldwyn-Mayer. She was seventeen years old and could not speak a word of English. Montenegro learned enough English in three months to play the leading female part in Never the Twain Shall Meet (1931), with Leslie Howard, at the age of eighteen. The movie is the English language version of a story written by Peter B. Kyne. The motion picture was directed by W.S. Van Dyke.
Prior to this performance, Montenegro was cast in Spanish versions of MGM movies, among them Call of the Flesh and Way for a Sailor (both 1930). The former featured Ramon Novarro while the latter starred Jose Crespo.
Her next screen project was Strangers May Kiss (1931). starring Norma Shearer, and with Montenegro as the ingenue role, playing a Spanish dancer. By mid-1931, Montenegro had left MGM and signed with Fox Film Corporation. She was to play in both Spanish and English language motion pictures.
In August 1931, she was aboard the Southern Pacific Argonaut passenger train. The train was wrecked near Yuma, Arizona and killed two trainmen. Luckily for Montenegro she was in the second section along with actors Warner Baxter and Edmund Lowe. The forty people among the film company were unharmed when the second section did not crash into the wrecked first section. The steam engine, two cars of the baggage car section, and a day coach overturned after the train struck a roadbed which had been softened by rain. The Argonaut was en route to a location shoot for The Cisco Kid (1931), in Tucson. Playing Carmencita, Montenegro had the primary female role and was the main source of strife between the Lowe and Baxter characters.
The Fox Film studio selected three of its own stars in opposition to the thirteen actresses chosen as WAMPAS Baby Stars, sponsored by the Western Association of Motion Picture Advertisers. The three were Montenegro, Helen Mack, and Linda Watkins. Eleven Fox publicity men resigned in protest of the WAMPAS decision to eschew naming any Fox starlets among its list of actresses most likely to achieve success. In addition Fox promised to name budding stars, or Fox debutante stars, annually.
Montenegro was sometimes featured in stage shows which coincided with the screening of film premieres. One such instance was the premiere of A Passport To Hell, which starred Elissa Landi. The movie debuted at the Loew’s Kings Theater in August 1932. Montenegro provided the vaudeville entertainment beforehand. On another occasion she teamed with Teddy Joyce in the stage show for the opening of The Kennel Murder Case (1933). The film screened at the Warner Brothers Hollywood Theater. Together with Will Rogers, Montenegro performed an Adagio for Strings number prior to the premiere of Handy Andy (1934).
Her movie career in America endured until 1940. That year she performed the leading female part in Eternal Melodies (Melodie eterne). The story focused on the unrequited first love of Wolfgang Amadeus Mozart. Playing Alois Weber, Montenegro jilts Gino Cervi, who portrays the composer in the Italian language production.
Montenegro applied for naturalization papers in Chicago, Illinois on March 16, 1932. She married a Brazilian actor, Raoul Roulien, in Paris, France, on September 19, 1935. The couple toured South America and produced a motion picture called Jangada (1936). The film dealt with the customs of primitive peoples in South America. More famous was the Spanish version of El grito de la juventud, in Argentina (1939). A short time later they were divorced.
In 1944, Montenegro married the Spanish diplomat Ricardo Giménez Arnau, a senior member of the far right Falangist party and ambassador to the Holy See.
Following a rare interview with Montenegro shortly before her death, Spanish author José Rey-Ximena claims that British actor Leslie Howard used her to get close to Spanish dictator Franco after being given the special mission by Winston Churchill. She claimed that she used her husband’s influence to secure a meeting between the British actor and the Spanish dictator. “Thanks to him, at least in theory, Spain was persuaded to stay out of the war,” Mr Rey-Ximena went on to claim of Howard. According to the author, Montenegro had an affair with Howard after the pair starred together in the 1931 film Never the Twain Shall Meet.
Montenegro collected dolls and woolly animals as a hobby. She acquired the reputation of a social leader in the Spanish Hollywood film colony. She leased a large house and was hostess at many gatherings.
After filming several movies in Spain, the last one Lola Montes in 1944, she retired forever from the cinema, refusing any interview or presence in the media, even to honour her.
A widow since 1972, when she died in Madrid she donated her body to medical science.—Wikipedia
Batman and Mr. Freeze: SubZero
United States
1997
70 Min
Color
1.33:1
English
DIR Boyd Kirkland
EXEC Michael E. Uslan, Benjamin Melniker, Bruce W. Timm
PROD Randy Rogel
SCR Randy Rogel, Boyd Kirkland, Bob Kane
ED Al Breitenbach
MUSIC Michael McCuistion
SOUND George Brooks, Gregory Beaumont
A better photo for Judi Dench:
Quote:
“I’m 22. So is Andre [Previn]. We are both very ambitious about our careers. We are just as ambitious to be happily married. We don’t feel the time is right now.”
Bio:
Phyllis Kirk (September 18, 1927 – October 19, 2006) was an American actress.
Born Phyllis Kirkegaard in Syracuse, New York (some sources state Plainfield, New Jersey), she contracted polio as a child which resulted in health problems for the rest of her life.3 As a teen, she moved to New York City to study acting and changed her last name to “Kirk”. She began her career on Broadway before embarking on a television and film career.
Kirk is best known for her many roles throughout the 1950s. She appeared with Vincent Price in the 3-D horror film House of Wax in 1953. Her most notable television role was opposite Peter Lawford in The Thin Man (1957—1959), where they played Nick and Nora Charles. She also appeared with Jerry Lewis in his 1957 film The Sad Sack, with Robert Ryan, Anita Ekberg, and Rod Steiger in the 1956 film Back from Eternity. Kirk was a regular on The Red Buttons Show and appeared as a guest on some television programs, including an episode of The Twilight Zone (“A World of His Own”).
As her acting career slowed down, Kirk began serving as an activist for various social causes. She vocally opposed death row inmate Caryl Chessman’s death sentence and visited Chessman in prison until his execution in 1960. After the Watts Riots in 1965, she funded preschool programs for underprivileged families in South Los Angeles. She also granted interviews and wrote for the American Civil Liberties Union newspaper. Kirk made her last onscreen appearance in a 1970 episode of The F.B.I. before leaving show business altogether to enter public relations. She worked as a publicist for CBS News, retiring in 1992.
Kirk was married to television producer and screenwriter Warren Bush until his death in 1992.
A Democrat, she attended the 1960 Democratic National Convention in Los Angeles, California.
Kirk died on October 19, 2006 of a post-cerebral aneurysm at age 79 in Woodland Hills, California. She was buried with her husband Warren Bush in the Arlington National Cemetery in Virginia.—Wikipedia
Quote:
“You know the actor John Garfield? In one movie he walked up to this train station, the ticket booth, and the guy says, ‘Yes, where are you going?’ And he says, ‘I want a ticket to nowhere.’ I thought: that’s it. The freedom to do that. I want a ticket to nowhere.”
Bio:
Though some will argue about whether Wayne Shorter’s primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz’s leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-‘50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter’s influence as a player, stemming mainly from his achievements in the 1960s and ’70s, has been tremendous upon the neo-bop brigade who emerged in the early ’80s, most notably Branford Marsalis. As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.
Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two years. Once out of the service, he joined Maynard Ferguson’s band, meeting Ferguson’s pianist Joe Zawinul in the process. The following year (1959), Shorter joined Art Blakey’s Jazz Messengers, where he remained until 1963, eventually becoming the band’s music director. During the Blakey period, Shorter also made his debut on records as a leader, cutting several albums for Chicago’s Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus completing the lineup of a group whose biggest impact would leap-frog a generation into the ’80s.
Staying with Miles until 1970, Shorter became at times the band’s most prolific composer, contributing tunes like “E.S.P.,” “Pinocchio,” “Nefertiti,” “Sanctuary,” “Footprints,” “Fall” and the signature description of Miles, “Prince of Darkness.” While playing through Miles’ transition from loose post-bop acoustic jazz into electronic jazz-rock, Shorter also took up the soprano in late 1968, an instrument which turned out to be more suited to riding above the new electronic timbres than the tenor. As a prolific solo artist for Blue Note during this period, Shorter expanded his palette from hard bop almost into the atonal avant-garde, with fascinating excursions into jazz/rock territory toward the turn of the decade.
In November 1970, Shorter teamed up with old cohort Joe Zawinul and Miroslav Vitous to form Weather Report, where after a fierce start, Shorter’s playing grew mellower, pithier, more consciously melodic, and gradually more subservient to Zawinul’s concepts. By now, he was playing mostly on soprano, though the tenor would re-emerge more toward the end of WR’s run. Shorter’s solo ambitions were mostly on hold during the WR days, resulting in but one atypical solo album, Native Dancer, an attractive side trip into Brazilian-American tropicalismo in tandem with Milton Nascimento. Shorter also revisited the past in the late ’70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter, and Tony Williams as V.S.O.P.
Shorter finally left Weather Report in 1985, but promptly went into a creative slump. Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements. After three routine Columbia albums during 1986-1988, and a tour with Santana, he lapsed into silence, finally emerging in 1992 with Wallace Roney and the V.S.O.P. rhythm section in the “A Tribute to Miles” band. In 1994, now on Verve, Shorter released High Life, a somewhat more engaging collaboration with keyboardist Rachel Z.
In concert, he has fielded an erratic series of bands, which could be incoherent one year (1995), and lean and fit the next (1996). He guested on the Rolling Stones’ Bridges to Babylon in 1997, and on Herbie Hancock’s Gershwin’s World in 1998. In 2001, he was back with Hancock for Future 2 Future and on Marcus Miller’s M². Footprints Live! was released in 2002 under his own name, followed by Alegría in 2003 and Beyond the Sound Barrier in 2005. Given his long track record, Shorter’s every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again. Blue Note Records released Blue Note’s Great Sessions: Wayne Shorter in 2006.—allmusic.com
A better photo for Robin Wright:
Joseph Gilgun – Cast
Quote:
“They said to me at school. ’You’ll never get anywhere acting the prat.’ And I fucking have.”
Bio:
Joseph William “Joe” Gilgun (born 9 March 1984) is an English actor best known for playing Eli Dingle in ITV’s Emmerdale, Woody in the film This Is England and its subsequent TV spin-offs, and Rudy Wade in E4’s Misfits.
Gilgun was born in Chorley, Lancashire, to mother Judith and father Andrew. He has two younger sisters: Jennie and Rosie. He attended Rivington VA Primary School and Southlands High School. He also trained at the Laine Johnson Theatre School and the Oldham Theatre Workshop. He has both dyslexia and ADHD, which he describes as the “biggest pain of [his] life” and in interviews has openly discussed depression and anxiety. He started drama workshops at the age of eight, following advice from an educational psychologist, and was described as having “exceptional talent”. When he was 10, he got his first TV acting role in Coronation Street. He stayed until he was 13. Gilgun studied art at Runshaw College. He started a degree in fashion design, but found it too academic. He was a plasterer, until returning to acting full time with Emmerdale. He has developed a close relationship with his co-stars from the This Is England stories, referring to them in interviews as “the gang”. —Wikipedia
Still suggestion for The Red Kimona (the splash of red tint is in the film):
Remove German and add Japanese to the languages in Kokoda
MARIE LILJEDAHL
Quote:
“I choose my scripts carefully. I refuse so many that are overly vulgar. I prefer a young director and not too much rehearsal. I prefer everything to be natural. The action and the dialogue. I often change my script to make it more natural to me…for me. Sex scenes? I have nothing against love. At home. In films. Or on television.”
Bio:
Marie Liljedahl (born 15 February 1950) is a Swedish actress who had a short-lived film career in the late-1960s and early-1970s, in the films of Joseph W. Sarno and Jesus Franco.
Liljedahl was born in Stockholm, Sweden, and was discovered dancing with a Stockholm ballet company by director Joseph W. Sarno. At 17 years old, she began her film career with the lead role in Sarno’s Inga (1968), which transformed her into an international sex symbol. Her other film roles included Sybil Vane in Dorian Gray (1970) and Eugenie in Eugenie… the Story of Her Journey Into Perversion (1970). In 1971, she appeared in the sequel to Inga, The Seduction of Inga, her last major role. She grew weary of the film industry and retired from acting at the age of 21.
A stage actress from age 10 and a member of the Swedish Royal Opera ballet at 12. Has also featured in Playboy magazine; ‘The Girls of Scandinavia’ (June 1968) and ‘Flicker Flicka’ (March 1969).—Wikipedia
Alternative, high quality stills for: Spider-Man 3:
Pride and Prejudice (1995) (higher quality version of the current one):
and Domino:
And Jennifer Ehle is missing acting credits for Contagion and The Adjustment Bureau.
Better photo for L’écume des jours (the English title is “Mood Indigo” by the way):
Al Pacino quote: “I hope the perception is that I’m an actor, I never intended to be a movie star.”
Three Colours: Red
Naked
Raging Bull
Chungking Express
Fabrizio Bentivolgio (Red American) is a mistake. the correct name in Fabrizio Bentivoglio
The SYNOPSIS for hitchcock’s THE WRONG MAN should be edited.It tells the whole story.
A still for http://mubi.com/films/yo-yo-girl-cop
English-language title of Tire dié = Throw Me a Dime
Quote:
“Daddy gave me one year. I promised to come home if I wasn’t successful. It never occurred to me that I wouldn’t make good. I was so spoiled as a child that I just expected all the things I wanted to come my way. To the amazement of everyone but me they did.”
Bio:
Priscilla Bonner (February 17, 1899 – February 21, 1996) was an American silent film actress.
Born in Washington, D.C., Bonner made her film debut opposite Charles Ray in the 1920 film Homer Comes Home, after being signed to MGM that same year. She went on to co-star with Jack Pickford in The Man Who Had Everything (1920), Lon Chaney, Sr. in Shadows (1922), Colleen Moore in April Showers, and comedian Harry Langdon in The Strong Man. In 1925 she successfully sued Warner Bros. and won a substantial cash settlement when she was originally chosen and then dropped as leading lady from John Barrymore’s The Sea Beast in favor of Barrymore’s new real life love interest Dolores Costello.
That same year she starred in the controversial independent film The Red Kimona produced and directed by Dorothy Davenport, the widow of Wallace Reid. In 1927, Bonner was loaned to Paramount Pictures to co-star in the box office hit It, starring Clara Bow.
In 1928, Bonner married Dr. E. Bertrand Woolfan and retired from films the following year. On February 21, 1996, Bonner died at the age of 97.—Wikipedia
Quote:
“You get typecast, but it was so grateful to be there and so exciting. If you’re a kid and you’ve grown up with Joan Crawford and Humphrey Bogart and John Garfield, and they’re walking toward you on the lot – it was just incredible. My life, looking back, has been a series of incredible occurrences, of being in the right place at the right time, or making the right choices. I made wrong choices, too.”
Bio:
Janis Paige (born September 16, 1922) is an American film, musical theatre and television actress.
Born Donna Mae Tjaden in Tacoma, Washington, she began singing in public at age five in local amateur shows. She moved to Los Angeles after graduating from high school and was hired as a singer at the Hollywood Canteen during World War II.
The Hollywood Canteen was a studio-sponsored club for members of the military. A Warner Bros. agent saw her potential and signed her to a contract. She began co-starring in low budget musicals, often paired with Dennis Morgan or Jack Carson. She later co-starred in adventures and dramas, in which she felt out of place. Following her role in Two Gals and a Guy (1951), she decided to leave Hollywood.
Paige appeared on Broadway and was a huge hit in a 1951 comedy-mystery play, Remains to Be Seen, co-starring Jackie Cooper. She also toured successfully as a cabaret singer.
Stardom came in 1954 with her role as “Babe” in the Broadway musical The Pajama Game. (Doris Day played the part on film.) After a six years away, Paige returned to Hollywood in Silk Stockings (1957), which starred Fred Astaire and Cyd Charisse, the Doris Day comedy Please Don’t Eat the Daisies (1960), and as a love-starved married neighbor in Bachelor in Paradise (1961) with Bob Hope.
A rare dramatic role was as “Marion,” an institutionalized prostitute, in The Caretakers (1963).
Paige returned to Broadway in 1963 in the short-lived Here’s Love, and as one of a succession of actresses playing the title role in the musical Mame. She also appeared in touring productions of musicals such as Annie Get Your Gun, Applause, Ballroom, Gypsy: A Musical Fable, and Guys and Dolls.
In the 1955-1956 television season, Paige starred in her own CBS situation comedy, It’s Always Jan, co-starring Merry Anders. The 26-week program preceded the first season of Gunsmoke on the Saturday evening schedule. The plot, set in New York City, centered around Paige as Jan Stewart, a widowed mother, and her two female roommates played by Anders and Patricia Bright.
She also appeared on The Pat Boone Chevy Showroom, Trapper John, M.D., All in the Family, Columbo and Caroline in the City. In the 1980s and 1990s, she was seen on soap operas such as General Hospital (as Katharine Delafield’s flashy Aunt Iona, a lady counterfeiter; Capitol (as Sam Clegg’s first wife, Laureen), and Santa Barbara (replacing the older Dame Judith Anderson as matriarch Minx Lockridge). In 1982 she appeared on St. Elsewhere as a female flasher who stalked the hallways of the hospital to “cheer up” the male patients. Although her character said she was “celebrating her 50th birthday,” Ms. Paige was actually 60 at the time of filming.—Wikipedia
“Eiji Funakoshi (船越 英二 Funakoshi Eiji?, 17 March 1923 – 17 March 2007) was a Japanese actor. He received the Kinema Junpo Awards for Best Actor and the Mainichi Film Concours for Best Actor for his performance in Fires on the Plain.
Born Eijirō Funakoshi on March 17, 1923 in Tokyo, Eiji Funakoshi signed up for the Daiei Motion Picture Company in 1947 and made his acting debut the following year with Beautiful Enemy. In a career that spanned three decades Funakoshi starred in a variety of genres and worked for directors Kōzaburō Yoshimura, Mikio Naruse, Kon Ichikawa and Yasuzo Masumura.
Funakoshi was a favorite actor of internationally renowned director Kon Ichikawa. Perhaps their most notable film was the World War II drama Fires on the Plain (Nobi, 1959). Funakoshi played the lead role of Imperial Army Private Tamura, a soldier stationed on Leyte Island in the Philippines. Fires on the Plain won awards in Japan and overseas, including prizes for Kon Ichikawa from the Blue Ribbon in Japan and the Locarno Film Festival in Switzerland.
For several years, Funakoshi portrayed Tanokura Magobei, a close associate of the shogun, on Abarenbō Shōgun.
Son Eiichirō Funakoshi is also a famous actor in Japan.
Eiji Funakoshi died of a stroke at 10:57pm on March 17, 2007, on his 84th birthday."
–Wikipedia
Film to add:
“Katy Perry: Part of Me” (2012)
Runtime: 93mins
DIR: Dan Cutforth, Jane Lipsitz
CAST: Katy Perry, Shannon Woodward and Russell Brand
EXEC: Craig Brewer, James Hall, Edward Lovelace
ED: Scott Evans ,Brian David Lazarte, Scott Richter
Plot:
A documentary that chronicles Katy Perry’s life on and off-stage.
-IMDB
Change the image back for The Wrestler. I’m pretty sure the current one is actually from the poster not the film.
Mr. Arkadin
Luciano Rossi (http://mubi.com/cast_members/191616) is missing from the cast list of Death Smiles on a Murderer (http://mubi.com/films/death-smiles-on-a-murderer).
Photo and brief bio:
Rome native Luciano Rossi (1934-2005) is arguably the most recognized but not-remembered-by-name character actor from the heyday of 1960-70s Italian genre cinema. He plays both the clad-in-black, occasionally cross-dressing red herring with the artificial hand in Death Walks on High Heels and the foppish, giggling madman of Death Walks at Midnight. Spaghetti Westerns, Gothic horror, giallo shockers and poliziotteschi thrillers, pepla, erotic sleazefests, war action, and even the most maligned of Euro-genres—the Nazi atrocity sexploitation picture—he did them all.
Reportedly starting out in a small part in an obscure horse opera, The Sheriff with the Gold (Uno Sceriffo Tutto d’Oro, 1966), more Westerns soon followed. Often appearing under the anglicized pseudonym of Edwin G. Ross or Edward G. Ross, some of the best of this early period were Mario Lanfranchi’s Death Sentence (Sentenza di Morte, 1968), costarring Robin Clarke, Richard Conte and Tomas Milian as an albino villain; Fernando Baldi’s Viva Django (Preparati la Bara!, 1968) with Terence Hill as the unshaven hero in black; and Sergio Sollima’s Run, Man, Run (Corri, Uomo, Corri, 1968), a sequel to The Big Gundown (La Resa Dei Conti, 1966).
Rossi virtually always assayed a villainous role. However, that scarcely describes his scary, often possessed performances. Much of the time, Rossi’s characters inhabit a privately-haunted world, a nightmare dimension comprised of either mental torment, spiritual anguish or physical abnormality—quite often all three combined. One of Rossi’s most striking portrayals is Luke Murdoch, a dissolute sociopath amongst the first of the victims of Anthony Steffen’s back-from-the-Civil-War-dead vendetta in Sergio Garrone’s Django, the Bastard (Django il Bastardo, aka The Stranger’s Gundown, 1969).
But the picture in which Rossi really got to stretch a bit was the seventh film by Aristide Massaccessi (aka Joe D’Amato) in 1973. Though some criticize it for its seemingly convoluted narrative, that is precisely one of the things that makes Death Smiles on a Murderer (La Morte ha Sorriso all’Assassino, 1973) stick so vividly in the memory. A dreamlike, frequently bloody ghost story in the tradition of Mario Bava’s Kill, Baby … Kill and Lisa and the Devil, Death is a lyrical, erotic, and stream-of-consciousness film with undead Ewa Aulin returning to haunt not only her grieving, hunchbacked brother (Rossi)—with whom she has had an incestuous relationship—but also attending doctor Klaus Kinski and rich young landowners Angel Bo and Sergio Doria. To this day, character actor Rossi remains one of those exceptionally memorable movie personalities that could only have taken root and blossomed in Italy’s fertile, 1960s genre-cinema breeding ground. —Chris D., writing for NoShame Films