Crazy Desires of a Murderer (Ratti, 1977) This month, Fragments of Fear delves into the Crazy Desires of a Murderer with Fillipo Walter Ratti’s Gothic whodunit of the same name. Purportedly from 1977, we look at the film’s ambiguous production date and account for some of the so called dated aspects of the film whilst examining how Crazy Desires slots into the gialli of the 1970s with its heady mix of Gothic and erotic elements. As always, we take a look at the film’s cast and crew, taking a moment to shine a light on some of the lesser known figures of the Italian genre cinema.

Deadly Inheritance (Sindoni, 1968) Fragments of Fear returns to the sixties to discuss Vittorio Sindoni’s French styled thriller and prototype giallo, Deadly Inheritance. Throughout the episode we explore the placement of Sindoni’s film in relation to the gialli of the 1960s and beyond whilst looking at other key filmic elements from the significance of its rural setting in provincial France to its characterisation and usage of red herrings. We also take a look at the film’s production history, Sindoni as a director and some of the film’s lesser known cast.

My Dear Killer (1972)

Fragment of Fear’s latest episode focuses on Tonino Valerii’s sole entry in the giallo filone, My Dear Killer (1972). Deviating away from the Argento styled gialli of the time whilst retaining some of its hallmarks, we examine this more realistic take on the Italian giallo and assess the film’s effectiveness in terms of its stark thematic ideas and visual style. We also take a look at the central performance of giallo stalwart, George Hilton and his characterisation of protagonist Luca Peretti; looking at how it compares to his typical roles of the period. Focus is also placed on Valerii as a director and his career outside of his sole foray into the giallo as well as our usual discussions around production history, design and contextualisation.

Fashion Crimes (1989) In the latest episode of Fragments of Fear, we return to the eighties once again to dissect Bruno Gaburro’s 1989 giallo, Fashion Crimes. Perhaps most notable for its leading role from Tenebrae alumni, Anthony Franciosa, we take a look at the actor’s career and assess the effectiveness of his character and the draw his casting has on the film. In our exploration of the film, we look at the film’s thematic ideas that tie back to the golden age of the giallo from fragmented memories and nonsensical crimes to innate psychic abilities. We also assess the film’s failings and missed opportunities, offering our thoughts on ways in which plot could potentially be rectified and improved upon. As always, we take a look at the film’s director, production history and place in the evolution of the Italian giallo.

The Double (1971)

In the latest episode of Fragments of Fear, we take a moment to mark the tragic passing of Daria Nicolodi; discussing her legacy and contribution to Italian cult cinema before moving on to this month’s discussion of Romolo Guerrieri’s 1971 giallo, The Double. In our examination of this experimental giallo, we explore the film’s literary origins, Guerrieri’s work as a director and the film’s inventive narrative structure whilst also taking a look at its thematic concerns from sexual politics, the crisis of masculinity and post sixties counter culture.

Strip Nude For Your Killer (1975) In celebration of Fragments of Fear’s first anniversary, we eschew our focus on the lesser known gialli in favour of a more well known title requested by you - the listeners! Running away with the vast majority of the vote was Andrea Bianchi’s popular giallo from 1975, Strip Nude For Your Killer, one of the more sordid titles to emerge from the giallo cycle. We examine the film’s sleazy reputation and accusations of misogyny, framing them within the film’s comedic stylings and the Italian cinema of the period. We also take a look at the film’s self aware usage of giallo tropes, effective set pieces and comical characterisation as well as celebrating one of the most iconic actresses of the genre - Edwige Fenech.

Door into Darkness: Part One To celebrate Fragments of Fear’s one year anniversary, we are releasing part 1 of our Door into Darkness episode, a previously Patreon exclusive episode, to celebrate as a way of thanking everyone for their support. In episode one of our two part discussion into Dario Argento’s 1973 television series for RAI, Door into Darkness, we discuss episodes one and two of the series; Luigi Cozzi’s Il vicino di casa (The Neighbour) and Dario Argento’s Il tram (The Tram). As well as looking at Cozzi and Argento’s contributions to the series, we examine Door into Darkness’s cultural impact and how it ushered in a new form of televised thriller, pushing the boundaries of what had previously been seen on Italian television. If you’ve enjoyed our Patreon exclusive content and want to hear part 2 and more, head on over to www.patreon.com/fragmentspod to pledge. Theme music performed by Massimo e Massimo. Hear more at superspectrum.bandcamp.com

Libido (1965)

Whilst Mario Bava’s 1960s thrillers, The Girl Who Knew Too Much (1963) and Blood & Black Lace (1964), have become known as the defining giallo texts of the 1960s, the tropes and genre markers of the giallo weren't fully established and popularised until Dario Argento’s debut, The Bird with the Crystal Plumage in 1970. As such, the Italian thrillers of the 1960s could be thought of as prototype gialli - transitional works that bridge the gap between the the fantastical psychosexual modernist fare of the 1970s and the more traditional thrillers of the 1960s that were often rooted in the Gothic. One key text to understanding this transitional period in the giallo is Ernesto Gastaldi & Vittorio Salerno’s Libido (1965) which is imbued with elements of both and marks a move towards the archetypal giallo that Gastaldi helped to popularise as a prominent writer in the genre. In this episode of Fragments of Fear, we examine this key period in the genre and examine how Libido acts as a transitional yet highly influential work in the giallo. We take a look at the film’s Freudian themes, Gastaldi & Salerno's use of the Gothic and Libido’s enduring influence on the giallo alongside our usual musings on the film’s production history and key players.