This Monday, March 9th, Sacrilegious Cinema: Menagerie of Madness shifts its angle back to the advent of the psychological slasher- this is high fashion meets horror- voyeurism in vogue. This dangerous dyad signals the foundation of both the giallo sub-genre and its later slasher counterpart, reaping a landscape of aesthetics laced in vulgarity to gain a snapshot of the killerโs fractured psyche. Erupting much contention at the time, these 1960โs flicks work as milestones for later entries, tethering the taboo alliance among beauty and brutality, and violence and libido, fostering a fetish bore of a divergent decade in history. Such inventions within the thread of filmography launch a playground for these sleazy stalkers lurking about the shadows of the composition, inviting us to analyze their ideologies. ๐ฅ
Starting at 8PM, we take a trip to London where we meet the acquaintance of photographer and aspiring filmmaker, Mark Lewisโ but beneath a timid visage lies deep-seated depravityโ where behind closed doors, Mark indulges in his alternate occupation as a serial killer, incorporating his camera into his craft with a hidden blade buried within the tripod and a mirror to record victimsโ reactions to witnessing their own demise. A product of a twisted childhood, Mark maintains an unhealthy fascination with fear, aiming to reach the apex of the emotion by capturing the final accompanying countenance culminating in death. PEEPING TOM (1960) forges a compelling character study deconstructing the mind of a madman, eliciting both sympathy and disgust for the predatory protagonist under a scrutinizing lens, exploring the power dynamic between cameraman and model, enacting a possession- as though a prop- reducing the subject to mere optics and effectively dehumanizing their very existence. Met with a plethora of controversy upon initial release, Peeping Tom was disparaged for its disturbing content, mercilessly annihilating director (of former The Red Shoes [1948] fame) Michael Powellโs career- in addition to tarnishing the reputation of leading man Karlheinz Bรถhm for his unsettling portrayal of the eponymous role. Despite the backlash, this progressive picture overcame admonishment, harnessing a cult audience and successfully serving as a profound influence on the slasher sub-genre in its presentation, emerging as among the first of its kind, renowned for showcasing an early depiction following the killerโs point of view.
Film gives us permission to be voyeurs without judgement; Peeping Tom tears apart the veil of security, stripping any anonymity away, forcing viewers to confront their own perverse pleasures, wherein they, too, are complicit in the act of scopophilia. Powell imbues fright with a face, utilizing the camera as means of compartmentalization for both the titular prowler and spectators alike, condemning moviegoers as a whole to address a philosophical musing as to where the violation of voyeurism begins and where it ends, muddying the lines of morality and exposing the eroticism of terror. ๐๏ธ๐ฝ๏ธ๐๏ธ ๐ด๓ ง๓ ข๓ ฅ๓ ฎ๓ ง๓ ฟ
Then, at 10PM, we traverse the streets of Rome, finding ourselves amidst the Christian Haute Couture fashion house where a string of grisly murders are being committed by a masked perpetrator in pursuit of a diary threatening to reveal deadly secrets. In the genesis of giallo, BLOOD AND BLACK LACE (1964) establishes the standard for the sub-genre, behaving as a prototype for many tropes to come during the gialli boom of the 1970s, including unconventionally theatrical scores against a vibrant color palette, striking set pieces, surreal lighting and stylish cinematography to evoke a visual feast and flair for the dramatics. Fashion functions as a vehicle of rebellion, echoing the societal upheaval Italy experienced during the 1960s, ushering in a transformative period wherein attire represents more than just a statement, but a rejection of traditionalism. Conversely, fashion operates as a facade, revealing reality as a meticulously curated illusion, proving thematically diverse, peeling back the veneer of beauty to uncover a gruesome sight. The whodunnit nature of this picture- as well as gialli as a unit- honing in on the paranoia festering from political tensions brimming within the nation, crowning this type of media as not only enticing, but also a form of catharsis, playing into voyeurism via surveillance. Mannequins, bathed in red, permeate the risquรฉ scenery, infusing a layer of uncanny valley into the movieโs moody vibes.
Directed by maestro of macabre, Mario Bava, revered for his gothic Black Sunday (1960) and the first ever giallo to grace the silver screen- The Girl Who Knew Too Much (1963), continued his streak with Blood and Black Lace the next year, auspiciously pioneering the gialloโs successor- the slasher- with his innovative vision. Blood and Black Lace oozes opulence, juxtaposing glamour and gore in a technicolor nightmare, commodifying beauty to satisfy an avaricious agenda. This runway set to celluloid is riddled in scandal, cultivating a provocative and lewd atmosphere, teeming in corruption to disrobe the seedy trappings of the industry, artfully orchestrated by the great, late Bava. ๐โ๏ธ๐ฉธ๐ ๐ฎ๐น
Get ready for your close-up at Hot Wax Coffee Shop in Ybor City. Lights, camera, action ๐ก๐ธ๐ฌ
No cover charge and FREE POPCORN with purchase. (In addition to psychological insight accompanied by behind the scenes information and observations by your horror hostess). ๐ฟ๐๏ธ๐ฅ
Event Venue
Hot Wax Coffee Shop And Tap House, 1522 E 7th Ave, Tampa, FL 33605-3704, United States
Tickets
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