Interview by Kurt Sayenga
Other than having extravagant titles and the divine Suzy Kendall final-girling all over the place, what do Sergio Martino’s The Bodies Bear Traces of Carnal Violence (aka Torso, 1973) and Dario Argento’s The Bird with the Crystal Plumage (1970) have in common? Well, both films were giallos made by imaginative directors working within the confines of a popular but disrespected genre, and both are postmodern deconstructions that owe as much to Blow Up as they do to Blood and Black Lace.
Filmmaker and film historian Howard S. Berger has quite literally spent his entire life studying films in general and Italian directors in particular. He has spent quality time with the greats, including Lucio Fulci, a director we will discuss in depth in a future installment. Here, Howard reveals what Argento and Martino’s high-style murder mysteries contributed to the language of cinema.
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