The Howl (1970) Tinto Brass

The Howl (1970) aka L'urlo
Genre: Surreal | Arthouse
Country: Italy | Director: Tinto Brass
Language: Italian | Subtitles: English (.srt & idx/sub files)
Aspect ratio: Widescreen 1.85:1 | Length: 92mn
Dvdrip Xvid Avi - 704x368 - 23.976fps - 1.16gb

The film follows a man and a woman--Anita and Coso--as they travel through a surrealist landscape populated by metaphorical characters and situations. Coso rescues Anita from jail and attempts to marry her. Marriage is, for Anita, a trap--she is a symbol of anti-establishmentarianism--and so she flees from Coso, and yet with Coso, leading the two on a variety of adventures. The couple encounter a number of scenarios that are symbolic of authority: the philosopher who turns out to be a cannibal, the madhouse/prison run by an Emperor Nero figure, the town turned mad from fascism. The very structure of the film is a rejection of order. Anita and Coso play a number of roles as they travel through the world gone mad: a prostitute and an escaped felon, a picnicking couple from the fin de siecle, and a priestess and her partner.

Long before his career as one of the premiere makers of erotic films, and before his double-play of historical excess in the form of "Salon Kitty"* and "Caligula," director Tinto Brass explored the murky waters of surrealist filmmaking with "The Howl."

A statement on the revolutionary nature of the late 1960s and Europe's post-World-War-II legacy, "The Howl" rejects standard film structure in favor of throwing as much weird shit at its audience as possible. While Brass states that he was not influenced by the Panic Movement, the aggressive, performance-oriented school of 1960s surrealism in which "El Topo" director Alejandro Jodorowsky was a key player, "The Howl" plays out like its leading down the Panic Movement's blind alley. Panic artists embraced savagery, occult and religious symbolism, and grotesque acting-out as a response to the chaotic social landscape of the Sixties. "The Howl" feels like a Panic Movement film in every way, from the use of deeply-symbolic imagery to the disjointed narrative to the casting of a famous clown as the male lead. This type of fiercely iconoclastic art is really a reflection of the zeitgeist, embodying the rebellion and upheaval of the time. This is a film of rich metaphor invested with personal meaning, built not on plot but on linked images and setpieces.

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