“The dog’s only a dog, but you’re a pig.”
When one approaches a giallo film, there is an automatic presumption of a encountering a visual stylization which goes hand in hand with the exaggerated excesses of behavior which set the plots in motion; usually a gaudy mix of unceremoniously bloody violence and flamboyantly bizarre sexual behavior; genre characteristics which are a bold extension of the American noir with its basis in violence and nihilism served up with a corruptive undercurrent of sexual depravity. (In a way, noir is entirely based on psychosexual gamesmanship.) Giallo merely extends these elements to both colorful and extreme levels, though also increasingly formulaic.
Armando Crispino’s “Macchie solari” (released in the U.S. as “Autopsy”, though more correctly translated from the Italian as “Sunspots”) opens with a succession of solarized sun flares interwoven with a series of some of the most preposterously staged suicides to be seen on film, including a man who drowns himself in a raging river by first tying a plastic bag around his head (a misguided attempt at scuba diving or just a guy willing to suffocate himself in a very picturesque manner?) and one fellow who, after killing his children, shoots himself…in the chest….repeatedly…with a machine gun…uh huh.
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