Windows Installer Movie Reviews

To call this movie a "docudrama" is probably giving too much credit to its factual accuracy. In the DVD Special Features there's an audio commentary from "The Real" Tony Wilson, which reveals that this movie is only loosely based on real events and he seems at times to be quite irked at the account of events and Steve Coogan's portrayal of him. And whilst Factory Records and the Hacienda undoubtedly played a huge part in British music and club culture, to refer to it as the "birthplace of rave" is clearly incorrect. For the uninformed fan of the Northern rave/indie/Madchester (call it what you will) scene, this movie is best enjoyed as a comedy, not a historically reliable document.

However, the recreation of the Hacienda itself is simply stunning - its visual accuracy is utterly flawless. When I was watching for the first time I had to check on the DVD cover to see if it was really filmed in 2002, because I couldn't believe it wasn't the real thing. I for one am pleased that the film didn't accurately reflect the last couple of years at the Hac, when gang infiltration made the place seedy and at times frightening. I prefer to remember it in the way it is depicted in the penultimate scene of the movie, the fictional 'last night at the Hacienda'. For anyone who spent nights and early mornings on that dancefloor, this scene makes this a must-own DVD. It will bring back happy memories and a strange feeling in the pit of your stomach of yearning for something that you once had that you know you'll never quite get back. It's not real, but in a way it's better than real.

I enjoyed this very much. This is a far-from-definitive and not-quite-accurate story of Tony Wilson, Factory Records, and Manchester. The movie focuses on Tony Wilson's "but I was there..." experience at a Sex Pistols show, his two music venues, his record label, Joy Division, and the Happy Mondays. The movie also touches on New Order, Vini Reilly, A Certain Ratio, and Tony's various assignments as a TV personality.

I didn't know much about Factory Records, etc before seeing this, but was definitely interested. If you're the same way, it's likely you'll enjoy this as much as I did.

When I read the bio's on the Mondays I laughed, but seeing it visually explained in 24 Hour Party People is PRICELESS. Not only did these actors have striking resemblances to the musicians, they were good actors as well. The time on the film runs a little long, but when will you ever have another film directed at these music legends? The cameos were exceptional...OH, and the classic kicker of Sumner seeing Shaun for the first time - this is a must buy for any Joy Division/New Order or Happy Mondays/Manchester fan.

THE HOUSE OF THE LAUGHING WINDOWS (La Casa dalle Finestre che Ridono, 1976): A young artist (Lino Capolicchio) is summoned to a church in a remote Italian village to restore a crumbling fresco depicting the horrific martyrdom of St. Sebastian. But the man who originally painted the fresco - long believed dead - appears to have been psychologically disturbed, and Capolicchio stumbles on a murderous secret concealed by powerful factions within the village itself...

Long unavailable outside Italy, and highlighted by a glowing review in Phil Hardy's seminal reference work 'The Aurum Film Encyclopedia Horror' (published as 'The Overlook Film Encyclopedia Horror' in America), Pupi Avati's THE HOUSE OF THE LAUGHING WINDOWS was recently restored for its European DVD premiere, and it's that print which forms the centerpiece of Image's US disc. However, despite its reputation as an undiscovered classic, the film is a huge disappointment, a horror movie for people who don't really like horror movies, directed by an acclaimed filmmaker whose early work routinely embraced elements of fantasy and horror (BALSAMUS L'UOMO DI SATANA, THOMAS E GLI INDEMONIATI, ZEDER, etc.) before he abandoned the genre and dedicated himself to the successful pursuit of 'upmarket' material (NOI TRE, STORIA DI RAGAZZI E DI RAGAZZE, BIX, etc.). Photographed by regular Avati collaborator Pasquale Rachini on bleak but picturesque Italian locations, the film strives to evoke an atmosphere of dread through languid pacing and deliberate camera movements, but poor post-synch Italian dubbing and weak performances by most of the supporting cast makes it difficult for viewers to engage with the narrative's emotional dynamic (when a number of major players are killed toward the end of the film, the effect is almost negligible). The climactic sequences contain a number of genuine surprises, but the build-up leaves much to be desired, and Avati's creative ambitions are scuppered by funereal pacing and a lack of interesting characters. There's no nudity and very little gore, and consequently, no suspense. Too commercial for the Art-house crowd and too pretentious for trash aficionados, THE HOUSE OF THE LAUGHING WINDOWS fails on all counts, and barely warrants a second glance. Those who prefer the likes of DON'T LOOK NOW to THE TOOLBOX MURDERS (for example) may enjoy it, but everyone else will be bored rigid by this unremarkable potboiler.

The print on Image's all-region disc was derived from a PAL source at 25fps and runs 105m 57s (110m 21s at 24fps), and the movie is letterboxed at 1.85:1, anamorphically enhanced. Picture quality is OK, though some have complained that the optional English subtitles are marred by puzzling artefacts during playback on certain types of DVD player. For no good reason at all, Image has provided Dolby and DTS 5.1 soundtrack options alongside the original 2.0 mono version, and while the extra dimension adds a little bass to the proceedings, the movie's limited soundtrack doesn't really lend itself to this kind of audio revision. Extras include a trailer and a short featurette in which Avati, Capolicchio, co-star/writer Gianni Cavina and composer Amedeo Tomassi reminisce about the movie and its cult reputation.

NB. While the DVD packaging describes it as 'The House With Laughing Windows', the subtitles on the print itself identifies the film as THE HOUSE OF THE LAUGHING WINDOWS.

I put this on at two in the morning after work one night and sat through it (and the subtitles) with nary a yawn... and was quite creeped out by the end credits. It has everything that makes a great giallo- intriguing camera shots, a plot that ravels itself back together in the last few minutes, picaresque locations populated by physically and emotionally twisted subcharacters (and I thought America had cornered the market on twisted rednecks- Get a load of the altar boy!). An artist on a restoration project begins recieving death threats and investigates further after a friend gets pushed from his window, leading to a reel tape of the artist (not a spoiler- it's in the opening credits) describing his flesh tortured in conjunction with his art (how pomo). Kudos to Image for releasing this film undubbed because you'd miss out on the eerie flavor of the phone calls and that reel tape - probably the creepiest tape used in a film after the opening credits of "Klute". On a technical note, remember to click in the subtitles option before viewing the film, and don't watch the making of until after the movie - it has spoilers. You may need to watch it after anyway, just to have a better transition to shutting off the t.v. in a dark house! So, overall, one of the more plot oriented giallos that still can carry itself into suspension of disbelief, and with very little lost relevancy.

THE HOUSE WITH LAUGHING WINDOWS (1976): Stefano (Lino Capolicchio), an art specialist, is hired by members of a rural Italian village to perform restoration work on a disturbingly violent fresco of Saint Sebastian painted on a decaying church wall. He meets and falls in love with a beautiful teacher, Francesca (Francesca Marciano), while staying for free in a house once owned by the sisters of the long dead artist. Stefano gradually learns that the painter and his sisters were monstrously depraved sadists who bloodily tortured people to death as inspiration for his horrific art. Various murders ensue and Stefano realizes that the killer is attempting to stop him from learning more of the village's secrets.

This shocker may be filled with lunatics, violent killings and an undeniably horrific climax, but it is filmed without any of the sleazy exploitation one might expect from the above synopsis. Pupi Avati directs the gruesome proceedings with masterful precision, utilizing a careful, leisurely pace in order to slowly build up a truly palpable sense of malice. While not failing to resort to some tried and true suspense techniques throughout, Avati finds it equally important to linger with moody, loving attention on the exceedingly desolate landscape surroundings and claustrophobic interiors. Cinematographer Pasquale Rachini's beautiful imagery creates a sure sense of place and atmosphere and helps make Stefano's growing feelings of isolation and dread all too real.

Lino Capolicchio plays Stefano with seriousness and intelligence, and his excellent performance is greatly responsible for the film's overall success; its impossible not to care about what happens to him in the film's disturbing, ambiguous finale. Francesca Marciano is equally fine as Stefano's love interest; their relationship is presented in a fairly realistic manner, and although inserting a romance into the storyline is more than a tad formulaic, Marciano is so charming and beautiful its certainly easy to see why Stefano falls for her so quickly.

Director Avati may have developed a solid international reputation as a serious auteur with a lengthy filmography full of critically acclaimed "arthouse" character studies like THE STORY OF BOYS AND GIRLS, but in the U.S. his reputation rests mostly on two cult horror films, ZEDER and THE HOUSE WITH LAUGHING WINDOWS. ZEDER has long been the most visible of the two, having managed a domestic release on videotape in the 1980's with the more exploitable title of REVENGE OF THE DEAD, as well as a (disappointing) DVD release in 2000 under its proper title. HOUSE, on the other hand, has languished in relative obscurity since its 1976 release in Italy, despite critical raves across the board, including from such estimable sources as Phil Hardy's THE OVERLOOK FILM ENCYCLOPEDIA: HORROR and VIDEO WATCHDOG magazine.

Now, finally, HOUSE has received a much deserved DVD release as part of Image Entertainment's Euroshock Collection. Thankfully, the print used is in stunningly pristine shape; the movie literally looks brand-new. The film's beautiful visuals are presented in their original aspect ratio, letterboxed at 1.85:1 (although the DVD's box claims 1.78:1). The Italian language soundtrack has optional English subtitles. Extras include a still/lobby card gallery, a surprisingly boring trailer and, most impressively, a short (subtitled) Italian language retrospective/documentary featuring a fascinating interview with Avati who obviously feels great love for this gem of a horror film. And so will you.