By Frank Cavallo
Sean Mulcahy replied Uncle Sam's name. within the autumn of 1917, he left his domestic, his acquaintances, and the woman he enjoyed. at the killing fields of the Western entrance, he vanished with out a hint. Thirty years later his ally Vince Sicario is a damaged guy. cut up from his spouse, run off the NYPD, his international swirls within the backside of a bottle. until eventually Sean comes clawing at his door. Bleeding. Delirious. and looking out now not a unmarried day older. Vince turns to the single individual he trusts, his spouse Maggie—the girl Sean left in the back of 3 many years previous. jointly they hit the streets of Hell's Kitchen, looking solutions to Sean's disappearance and mysterious go back. yet others are at the similar path, and anything negative is lurking at midnight alleys and soiled corners of the West part. clever men are disappearing. Mutilated corpses are turning up. The police officers are baffled and gangsters are working scared. Rumors abound of wierd gatherings within the shadows, of historic horrors reborn, of blood feasts and pagan rites rekindled. a few say the savior of the damned has come. Sean should be in negative hazard. Or the best possibility of all—the Lucifer Messiah.
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Extra resources for The Lucifer Messiah
Then their love story brusquely ended, and Canale’s star abruptly faded, until her early retirement from the scenes in 1964. At the time she made I Vampiri, Gianna Maria Canale was not even 30, yet Freda has her play a character not unlike Gloria Swanson’s in Sunset Blvd. (1950, Billy Wilder)—a woman obsessed with aging, secluded from the outside world, in love with a man much younger than her, served and revered by a cousin/lover/slave. This all conveys the sense of a fading ideal of beauty, that is about to be swept away by another female icon (no wonder Canale initially 28 1957: I Vampiri did not want to star in the ﬁlm).
Poindron, Riccardo Freda, p. 259. 13. Ibid. 14. Ruben Paniceres, “El gotico italiano. , Cara a cara. Una mirada al cine de genero italiano (Gijon: Semana Negra, 2004), p. 103. 15. Francesco Di Chiara, I tre volti della paura: il cinema horror italiano (1957–1965) (Ferrara: UniPress, 2009), p. 69. 16. In 1960, Beni Montresor (Bussolengo, 1926—Verona, 2001) moved to the United States, and started working as an art director and costume designer in theatres throughout the world: New York’s Metropolitan, London’s Covent Garden, the Paris Opera.
3. In 2009 animator Scott Bateman released a new version of the ﬁlm, created by taking the Englishlanguage soundtrack and pairing it to animated visuals, with humorous results in the vein of Mystery Science Theatre 3000. In 2011 British artist Adam Roberts made Remake, a 31-minute, scene-for-scene reshoot of the original … without any of the characters, again using the English language soundtrack. As Roberts explained, “More or less, the shots have been recreated to preserve the framing, focus and moves of Seddok’s camera—minus its cast.
The Lucifer Messiah by Frank Cavallo