Oggi è la festa della donna. Un augurio quindi a tutte le "gentil sesso" che allietano il blog!
Questo luogo però ama i contrappassi anche feroci, quindi ho accolto di buon grado la proposta dell'amico e mentore Napoleone Wilson di questo film per celebrare la giornata, la cui vicenda è decisamente a dispetto del primo titolo originale. Si vede che il regista amava, come noi, questo genere di satira.
Passo subito la parola a Napoleone.
“Non violentate Jennifer” (Day of the Woman/aka I Spit On Your Grave) (U.S. 1978/Ried.1983) Meir Zarco, has now become daunting, to review. Film is considered by many even today and despite the extreme cult status that cloaks itself nothing more than "total rubbish" (priceless would still re-publish the review here of the time of the famous Roger Ebert in the Chicago Sun-Times, according to which this was "the most disgusting and morally reprehensible film that you could ever have the misfortune of having to watch, made by people even more morally unprincipled the film itself.", that wonderful and unbeatable vehicle for advertising!), without "revaluations "Specific information to be able to operate above, or quality of "redemption" can work and its aim of only "exploit".
Yet, if then, "I raped Jennifer" is garbage, what is exciting in its roll oleozzanti miasma.
film to view some unpleasantly, "I Spit On Your Grave" ("I spit on your grave "that is the wonderful title of his first edition, that unsuccessfully in 1978), was designed and developed to try to scrape together a few dollars, especially in film circuits connected to campus, but just out of the feminist movement wanted him to burn almost and what it issued Finally, this controversy which helped him gain and not just the publicity he sought. The film was screened in which they were staked, and entire essays began to be written on it.
Once the film was actually seen by the people then all you heard was wrong to keep intact its importance, because it was really a film that only gets people from all their distress and their repulsion.
It is also understandable because the plot of "I Spit On Your Grave" is: a young and very attractive city woman (Camille Keaton, who also worked in films in Italy as "What Have You Done to Solange?" ('72) Massimo Dallamano, icy beautiful, his famous nude Playmen full service in April '74 is overwhelmingly from "disorder") is in the country in a wooden house lost in the forest, as a writer is only there in search of peace, tranquility and isolation, to write his new novel. Unfortunately, it literally runs in the knowledge of a group of boys "redneck" of the place, which are found always together and define idiots and ugly is just a euphemism. The group consists of the usual viscidissimo, by another "loser", and just a mentally retarded that others do not show any pity, but rather laugh at the time. In short, shortly after the beginning of the film, the girl is captured and dragged into the woods, where he started a real gang-bang rape continued, repeated, long, harrowing and violent in all the ways you can be in mind can be made. Animal, without any remnant of human pity, and somewhat gloomy lividissimo made by an obvious and not so "covered" the sense of pregnant and repressed for years and years, misogynist hatred.
Included in these forty-minute film, they are obviously the most slimy degradation and humiliation of the person, physically and psychologically. Savage beatings and torture to complete shame. In your opinion, this can be simply disgustoso? E in effetti lo è.
Ma questa appunto è solo la metà, del film. La donna sopravvive miracolosamente dall’essere anche finita, e abbastanza rapidamente inizia a pianificare una ferocissima, infernale vendetta.
Il resto del film è questo: da spettatori “comodamente seduti” poter assistere e ammirati, guardare, alcuni dei più raccapriccianti modi mai concepiti e visti su uno schermo, per ottenere la meritata punizione dei quattro ceffi, e ovviamente, una morte nella più variegata sofferenza e violenza possibile.
Sembra terribile..? Lo è.
Il film di Zarchi –che in pratica ha fatto solo un altro film oltre questo, con il quale vive di rendita for over thirty years-is interesting and very, and always has been, for several reasons. The first that comes to mind and that should be enumerated are the terrible scenes of rape-perhaps still the longest seen in the movies, as has been said mid-film, violent and sick over the years have led to many more viewers to the need to turn the look (almost more men than women).
Second, after the film Zarco has become more difficult, even for a horror film more than "pure", go find something more terrifying detail, as in the scenes of rape or of the horrible death of four men. They are rewarded with a violence equal justice done in their own way of being, and behavior toward the victim's wound and horribly tortured, Jennifer.
It is assumed that almost everyone will be happy to die. Very nice, however, for example, the scene where one of them gets castrated by her with a kitchen knife in the bathtub, and to cover the screams as he is bleeding to death with boiling water in red, after closing the bathroom door she drops to the lower floor of the house to put on a disc of "Manon Lescaut" Puccini to cover the screams. Bizarre and weird touch of class conscious, which makes it even more difficult the inclusion of this film in a specific category, more or less necessarily horror ...
Third, the end is even a movie instead of "feminist" or not? The story behind the film sounds pretty well, as the simple and classic dichotomy of "Rape & Revenge", the structure of "feminist" rape-revenge, but Zarco manages to keep much more ambiguous and unfair and never expire in the foreseeable boring this. Spectators at the end to assist more than thirty minutes of ugly violence against this woman, but his revenge is not as precise and detailed the direction of the film. Only one of the men killed, we are shown into a long, agonizing death. The Castro in a bath because we know who dies in the closed left the room, ascoltiamo le sue grida poi affievolirsi fino a non sentirle più, e sappiamo per questo che è morto, ma non lo abbiamo visto. Mentre si vede tutto e lunghissimamente, nella prima metà del film, ciò che viene fatto alla protagonista, anche e soprattutto come donna. E sarebbe fino alla morte, se come detto, non la scampasse fortunosamente.
Molte donne –praticamente tutte- lo so, direi una bugia se non lo sapessi, le poche che lo conoscano o lo abbiano visto, e tutte quelle che avrebbero il coraggio che non possono avere, di vederlo davvero, direbbero che è un film che fa veramente schifo, e da odio o da terapia per quegli uomini che lo trovano interessante o peggio, molto “divertente” e “meritorio”.
Exactly, for that alone, I repeat like a movie soooo "interesting", and however and by the way, some sequences on the ways and means of revenge by Jennifer, are beautiful, dynamic, high-class, other than crude , and turn very well.
The scar appears on the left side of the face of Jennifer / Camille Keaton in post-traumatic scenes of rape, is real, and it was the result of an automobile accident young actress. In these scenes, the scar has been exaggerated make-up, while at the beginning and end of the film, it was hidden under a thin layer of foundation.
often appointed by the renowned film critic Roger Ebert, as even "the worst movie ever made."
The film was passed uncut in Australia only until December 1997. It 'was then banned again from December 1997 to June 2004, first edition aussie on DVD.
Meir Zarco said they preferred the title "Day of the Woman."
Meir Zarco has always said he was inspired to make the film after helping a young woman who was raped in New York. He recounted how a friend of his and his daughter were in a park when they saw a girl crawling out of the bushes, bloodied and naked (after he discovered that the girl was about to take a shortcut to town to meet her boyfriend, when it was attacked). Taking the girl in the car, took his daughter home, and deciding whether to bring his friend to the hospital or the police, eventually led to the police. Soon after they discovered that was a mistake, because the police officer, who Zarco has described as "not fit to wear the uniform," it would lead late in the hospital, insisting on questions about his assailants even though the girl had broken jaw and could not speak. Finally, Zarco insisting the officer meant that the girl was immediately taken to hospital. Zarco also said that shortly after the girl's father wrote him a letter of thanks for the help given to his daughter, and wanted to give him a reward, which he refused.
the DVD Special Edition of the UK, there is an 'easter egg "hidden on the third page of special features, go to the" main "link on the left then, and you can highlight the knife that takes a picture of Jennifer in the famous manifesto the film. The 'Easter egg reveals a selection of stills from the movie.
When this film had its first release in 1978, the original title was "Day of the Woman", but was received poorly at the box office. In 1981, the distributor Jerry Gross renamed the "I Spit On Your Grave"-as already known French drama of 1959 - for a re-release.
Under this new title, the film received more publicity and became a key objective of these nefarious campaign known critics Roger Ebert and Gene Siskel, film against the "threatening and offensive to women."
The film has no soundtrack, but a fragment intradiegetico from a disk of "Manon Lescaut" Puccini for a famous scene. The director Meir Zarco had the idea to add some music from the library for his film, but found none to that of his suit, then the only music we hear in the film is only by Puccini, from background music into a store and just riff distance from the harmonic character of Johnny.
The tagline of an American original poster mistakenly said: "This woman has just cut, mutilated, killed and burned five men beyond recognition." The men who killed her only for revenge and are only four, and none of them is burned. In recent and also nice remake "I Spit On Your Grave: Unrated" (2010) Steven R. Monroe, has added a fifth to the rapists.
Napoleon Wilson
usual masterly review.
add only a curiosity. In the film, as often happens when we talk about rape, jumping out of the usual refrain that says, "is the woman who provokes." It 's really an old excuse, a stupid thought, understood only by the authors of such crimes as an excuse extreme. Yet lawyers for these characters often use the tune and find other characters that should be authoritative moral guide to give a hand on these issues, as this gentleman (indeed Monseigneur) that here, I note, none of its leaders has run care to silence.
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