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RED or DEAD?

a
From Aether, by Harry Kumel (Malpertuis) and Herman Wuyts.
dt
The RED car speeds through the dark tunnel. In the driver's seat — The Girl.
bff
tg
The Girl arrives at her bf's block.
He rushes to see her.
bfr
An accident waiting to happen!
He falls — injured. Or DEAD? The RED ball bounces off — unharmed!
bb
s
Hospital — the operating theater — ether!
A dream...of RED.
d1
d2
d3
d4
DEAD. On the operating table or on the stairs? Either way, DEAD is DEAD.
dead
b
b3
b2
The RED ball bounces merrily away.
"I guess he's not coming," sighs the Girl, and drives merrily away into the dark tunnel.
dt
***
David Cairns is the author of Shadowplay, the willfully eccentric film blog.
 
Don’t forget the devil’s bouncing red ball in Fellini’s “Toby Dammit”
That seems like a natural link, doesn’t it? And I think Kumel and Wuyts came first. Mario Bava’s Kill Baby Kill! is often cited as an influence on Fellini, but he may have been shopping around…
I was thinking of The Prisoner, only this looks like a soccer ball (the texture and faux stitching in the close-up) as opposed to the large translucent sphere that menaced Number Six. Something devilish about the way it bounces along on its merry way, like the toy of a malicious child…what year’s the release of this?
1960. But the ball does behave rather like Rover in The Prisoner, especially in an aerial shot of it splashing into water which I haven’t included here. The dream-paranoia feeling, the open-topped sports car, and even the bongo soundtrack do somehow recall McGoohan’s masterpiece.

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