Kirjahaku

Paterson, New Jersey-March 1961. A joyous day of celebration turns into a waking nightmare when a young girl is brutally murdered. With the police making slow progress, the child's grief-stricken parents decide to launch their own investigation and uncover some ugly secrets about their family, friends, and neighbors. Among the many possible suspects, the most likely culprit proves to be the girl's own sister... but could an angelic-looking child be capable of such a ghastly crime?Originally titled Communion but also known by such monikers as Alice, Sweet Alice and Holy Terror, Alfred Sole's Catholic-themed horror-thriller has gone on to attract a well-deserved cult following. Though mostly ignored on its original, checkered theatrical release, the film is now revered among devotees of the offbeat. Architect-turned-filmmaker Alfred Sole brought a distinctive, artistic eye to bear on what could have been yet another routine potboiler. Working well outside the confines of Hollywood, he used his connections to secure atmospheric locations, while scouring the New York theater scene for the right actors to bring his quirky characters to life. The road to realizing his vision was not without complications, however. Here you will learn about his ill-fated foray into the then-profitable "porno chic" market by making his own "blue movie" in his home town; the fallout was immense and he found himself facing the possibility of jail time as well as absolute professional disgrace. Once the dust settled, he decided to try for something equally commercial but far more palatable for mainstream consumption. At a time when the likes of Tobe Hooper, George A. Romero, John Carpenter, Wes Craven, and David Cronenberg were emerging as the great new auteurs of North American horror, Alfred Sole seemed poised to join their ranks; sadly, some bad breaks ensured that lightning would not strike twice. No matter what disappointments came in its wake, Sole's "respectable" mainstream debut scaled artistic heights that leave no doubts as to his singular talents. Troy Howarth, the award-nominated author of such books as The Haunted World of Mario Bava and Assault on the System: The Nonconformist Cinema of John Carpenter, explores the genesis, production, and reception of one of the key horror films of the 1970s. In addition to a brand new, in-depth career-encompassing interview with co-writer/director Alfred Sole, Unholy Communion: Alice, Sweet Alice from Script to Screen also reproduces the complete original shooting screenplay. There's also ample analysis of the state of the genre during the counter-culture boom of the late 1960s and '70s and of the film itself, giving readers insight into what makes this such a special, stand-out piece of independent filmmaking.

Paterson, New Jersey-March 1961. A joyous day of celebration turns into a waking nightmare when a young girl is brutally murdered. With the police making slow progress, the child's grief-stricken parents decide to launch their own investigation and uncover some ugly secrets about their family, friends, and neighbors. Among the many possible suspects, the most likely culprit proves to be the girl's own sister... but could an angelic-looking child be capable of such a ghastly crime?Originally titled Communion but also known by such monikers as Alice, Sweet Alice and Holy Terror, Alfred Sole's Catholic-themed horror-thriller has gone on to attract a well-deserved cult following. Though mostly ignored on its original, checkered theatrical release, the film is now revered among devotees of the offbeat. Architect-turned-filmmaker Alfred Sole brought a distinctive, artistic eye to bear on what could have been yet another routine potboiler. Working well outside the confines of Hollywood, he used his connections to secure atmospheric locations, while scouring the New York theater scene for the right actors to bring his quirky characters to life. The road to realizing his vision was not without complications, however. Here you will learn about his ill-fated foray into the then-profitable "porno chic" market by making his own "blue movie" in his home town; the fallout was immense and he found himself facing the possibility of jail time as well as absolute professional disgrace. Once the dust settled, he decided to try for something equally commercial but far more palatable for mainstream consumption. At a time when the likes of Tobe Hooper, George A. Romero, John Carpenter, Wes Craven, and David Cronenberg were emerging as the great new auteurs of North American horror, Alfred Sole seemed poised to join their ranks; sadly, some bad breaks ensured that lightning would not strike twice. No matter what disappointments came in its wake, Sole's "respectable" mainstream debut scaled artistic heights that leave no doubts as to his singular talents. Troy Howarth, the award-nominated author of such books as The Haunted World of Mario Bava and Assault on the System: The Nonconformist Cinema of John Carpenter, explores the genesis, production, and reception of one of the key horror films of the 1970s. In addition to a brand new, in-depth career-encompassing interview with co-writer/director Alfred Sole, Unholy Communion: Alice, Sweet Alice from Script to Screen also reproduces the complete original shooting screenplay. There's also ample analysis of the state of the genre during the counter-culture boom of the late 1960s and '70s and of the film itself, giving readers insight into what makes this such a special, stand-out piece of independent filmmaking.

The giallo--a specifically Italian brand of lurid thriller--emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular--with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.The giallo--a specifically Italian brand of lurid thriller--emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular--with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.

For many horror film fans, the name Lucio Fulci conjures images of gore and depravity. Derided by critics as a hack and an imitator and lionized by others as the "Godfather of Gore," Fulci remains a polarizing and controversial figure. However, many fans are unaware of the scope and breadth of his filmography. From his early days writing material for popular comics like Tot and Franco and Ciccio to directing films in such genres as the musical and the Spaghetti Western, Lucio Fulci was a filmmaker of great diversity. When he attained international notoriety with the release of his gory epic ZOMBIE, Fulci already had years of experience in the film industry; that film's success established him as one of Italy's premier masters of the macabre and he would continue to shock and delight fans until shrinking budgets and failing health began to compromise some of his later work. When he died in 1996, he was on the cusp of a major comeback, but in the years following his death the cult surrounding his legacy has continued to grow. Unfortunately, most studies of Fulci and his work have elected to focus only on a small part of his career. SPLINTERED VISIONS changes all of that by providing an in-depth exploration of Fulci's filmography, beginning with his work as a screenwriter and extending through all of his films as a director. The popular horror films and thrillers are given ample coverage, but the lesser-known works are finally put into their proper context. Author Howarth provides a detailed portrait of a complex man using newly conducted interviews with actors such as Richard Johnson and Franco Nero, which allows the reader a sense of who the director was and how he worked. The end result is the most comprehensive overview of Fulci, the man and Fulci, the filmmaker that has been published in English--making SPLINTERED VISIONS a cause for celebration among serious Fulci fans. The book is also lavishly illustrated with a number of rare stills, posters and advertising materials.