There’s a new wind blowing, and it smells exactly like the stale old wind. As Teleport City counts down to its 20th anniversary (good gravy, Charlie Brown), it’s become a little burdensome and full of writing I did in my 20s and am not entirely excited about. So in the service of staying in the game as Teleport City shifts into archival mode (it will remain online), a new site is being launched that will take its place and do mostly the same thing, though with a little more structure. The site, called MEZZANOTTE, is based around themes that run for two months (all of which will be compiled into an ebook/print book at the end of the year). For our inaugural theme, which officially launches in February, we’re tackling giallo movies and soundtracks.
The new site doesn’t officially launch until Feb. 1, but you can get a sneak peek now, since the B-Masters has been Teleport City’s home since that fateful day a madman named Dr. Freex said to the council, “What about Teleport City?” And where better to start an exploration of giallo than with the film most often referred to as “the first”?
|THE GIRL WHO KNEW TOO MUCH (1963)
Judging Mario Bava’s The Girl Who Knew Too Much from its first scene, it would be reasonable to assume one was watching a Fellini movie, or at least a reasonable imitation of Fellini. The opening shot of a TWA plane in flight toward Rome, the bustling capital of high style, suggests the dawn of the age of the jet set, as does the introduction of the film’s main character, stylish but somewhat naive American Nora Davis (Leticia Román, in Russ Meyer’s version of Fanny Hill as well as the Elvis film G.I. Blues) who is being pestered by her Lothario seat-mate (while she is trying to read a giallo novel, no less).
You can read the soundtrack reviews here.
Keith Allison is the chief bacchanologist at MEZZANOTTE.