How familiar are fellow board members with this late eighties MTV/BLADE RUNNER/DIVA-inspired "giallo"? What are peoples' opinions on this one and any of the other 80s "dead model" gialli? I admit to being taken with the glossy look and sound despite the weak plot and unlikeable characters (same with the mislabelled "thriller" DOMINO).

I've seen it courtesy of Imperial Entertainment's unrated but fullscreen VHS tape (great cover art). What are the other releases like? I know there's a Greek tape, a German one (still in print, I think), as well as an Italian tape from Mondadori. Are either letterboxed? Any chance of a DVD release?

In addition to the US Imperial tape, I have a Danish release (I think) on Polygram that is identical, content-wise. It's also presented fullframe.

I originally saw the film on a satellite pay-per-view channel named Viewer's Choice when I was in my early teens. I couldn't remember the title for a long time, but certain scenes stuck with me over the years, so I was VERY happy when I caught up with the film as a random purchase in my early 20s. (Ditto with another fashion gialli, NOTHING UNDERNEATH. There was another euro-erotic thriller I caught around this time that I haven't placed yet. All I remember is some blond-haired woman in nothing but a see-through fishnet outfit. She's on the beach, and it's lit only by moonlight. I think a guy's there, too. For some reason, I think it had the word BLUE in the title. Ringing any bells?)

[QUOTE]I think it had the word BLUE in the title. Ringing any bells?

Not that I've heard of. The ones that I think fall into this category are:

PATHOS
NOTHING UNDERNEATH (was this made before or after BODY DOUBLE?) (rights available from Filmexport as either THE LAST SHOT or THE FINAL SHOT).
TOO BEAUTIFUL TO DIE (haven't seen it yet - rights also available from Filmexport)
DIAL HELP (to an extent)
DELIRIUM (L. Bava)

Which do you think is the bigger influence on these films: BLOOD AND BLACK LACE or EYES OF LAURA MARS? Any other stylistic influences?

DOMINO might have been more interesting had there been some actual sense of danger in it. Still, gotta love the photography and use of Billie Holliday songs over 80s rock (not that there's anything wrong with that - love the songs selected for Pathos and Nothing Underneath) + appearances from Tomas Arana and David Warbeck.

I have to wonder if all those choice songs are the reason why we have yet to see DVD release on these films. I mean, if the majors aren't going to cave in to the music conglomerates insane licensing fees, how can the scrappy indie that would have the most interest in releasign these films be able to pay them either?

[QUOTE]I have to wonder if all those choice songs are the reason why we have yet to see DVD release on these films.

That would be unfortunate. Does anyone know if Anchor Bay had any legal hassles regarding music when they put out PHENOMENA (Iron Maiden), DEMONS (Billy Idol, etc) or DEMONS 2?

How about Fulci's MURDER ROCK? :lol:

I actually just grabbed the uncut Imperial tape about a month back and found myself enjoying this stylish thriller and it's uber-sleazy delights.

It was interesting to see the technology used in PATHOS, much of it considered state of the art for it's time. Kind of got a chuckle out of Carlo Mucari using terms like, "video disc". And that car!!! That vehicle ultra-sexy Virginia Hey was speeding around in was a total ringer for the, WTF is that(?) category.

Kind of ironic that I happened across this thread today as I was already in the process of reviewing the film for Cinema Nocturna.
Also, you might all be interested to learn that I have secured an interview with bodybuilder/actress Teagan Clive for CN, who as you know is in the film. She has received my questions and is in the process of replying to them, a number of which cover much discussion of PATHOS, or OBSESSION: A TASTE FOR FEAR. Keep your eye out for my interview with Teagan in the coming weeks.

www.cinema-nocturna.com

[QUOTE]It was interesting to see the technology used in PATHOS, much of it considered state of the art for it's time. Kind of got a chuckle out of Carlo Mucari using terms like, "video disc". And that car!!! That vehicle ultra-sexy Virginia Hey was speeding around in was a total ringer for the, WTF is that(?) category.

The car was the "Machimoto prototype" mentioned in the end credits. It was designed by Giorgio(?) Guiguiaro who has designed cars for Fiat and Volkwagen among others. He also designed the shells of some of the top Nikon cameras (though not the one used in the film which is a mechanical manual focus Nikon camera mocked up with some blinking LEDs which anticipates the digital SLR by a little less than a decade).

For me, the WTF in this movie was the laser gun the cop fired when the killer attempted to run him down.

Anyone have the soundtrack?

Actually, good call Eric. That gun was absolutely absurd!

Thanks for the heads up on the car.

Can anyone identify any of the songs on the soundtrack that aren't credited? The credits only list Lou Gramm's "Midnight Blue" Grace Jones' "Private Life" (both very well used in this film), the two Gershwin songs, and the Italian song "Ridi Laura." There are two other songs that aren't credited. They both are used during photo shoot scenes. Does anyone know what they are? Are they uncredited because they're considered part of the original score (i.e. they were composed by the score composer)?

If I'm not mistaken, Kid Creole (of Kid Creole and the Coconuts) also contributed to some of the numbers in PATHOS. He also appears in the film fairly briefly at a party Virginia Hey, Gerard Darmon, and Eva Grimaldi attend, and then again as Hey's bookie.

Strangely enough, he appeared in another Italian film along with sexy Ms. Grimaldi - CATTIVE RAGAZZE from 1992 by director Marina Ripa di Meana.

It's strange that they didn't credit him with any songs given his prominent billing in the main credits. I'm not sure if they used him because I haven't heard anything he's done (I also don't remember hearing the song "Ridi Laura" in the film - it doesn't exactly sound like it would fit). The only other thing I've seen Kid Creole in is (yikes!) THE FORBIDDEN DANCE.

Kid Creole also performs in a nightclub sequence in AGAINST ALL ODDS -the Taylor Hackford remake. He performs "Male Curiosity" with the ubiquitous Coconuts, of course.
I'm surprised that "Future Giallos" never caught on. Then again maybe it's a good thing that the Italians didn't get their hands on Philip K. Dick...