Based on the Edgar Wallace mystery play, 'The Man Who Changed His Name', the plot centres on the recently-married young wife of a wealthy aristocrat who gradually becomes convinced that her new husband is in fact a murderer hiding behind a false identity.
'Telefoni bianchi' (lit: white telephones) is a comedy sub-genre popular in Italy between 1936 and 1943. The name derives from the presence of white telephones in the first films produced in this period, symptomatic of social well-being: a status symbol apt to mark the difference between the popular bakelite phones, cheaper and therefore more widespread, … Continue reading Telefoni Bianchi
WIP - update 3
Plot: During a party organized in the attic of a New York skyscraper, one of the drunk guests falls from the terrace onto the street below. Inspector Stoll, however, isn't convinced it was an accident and continues his investigation.
Plot: Following the suspicious death of a doctor in a clinic, a publishing editor decides to visit the scene of the crime and prove the victim was poisoned. More deaths follow in the same clinic and an over-worked giallo author and his wife also become embroiled in the proceedings until the real culprit is brought … Continue reading Short Circuit/Cortocircuito (1943)
Renowned giallo author Ugo Palfy finds himself in the middle of a creative crisis as he struggles to come up with an idea for his latest novel and deliver it to his publisher on time. With barely a few hours to go before the deadline and hardly a word written, all hope seems lost until … Continue reading Shiver/Brivido (1941)
Saddled with a string of gambling debts he cannot pay, the Baron of Santafusca is coerced into selling the family estate to a devious loan-shark. Fotobusta Produced by Sandro Ghenzi for Universalia, in association with Cines, the film was shot at Cinecittà in the summer of 1943 but only received its premiere in Rome after … Continue reading The Priest’s Hat/Il Cappello da Prete (1944)
WIP Promotional Brochure Plot: Critical Reception: "Avvertibili squilibri negli sviluppi drammatici e psicologici, l'incerta fusione di elementi 'gialli' e sentimentali e la tediosa prevalenza del dialogo sull'azione, concorrono alla mediocrità del risultato." ('Segnalazioni cinematografiche', vol. 68, 1970) "Sul filo assai delicato di un intreccio 'giallo' (...) sono contemporaneamente in ballo la verità sulla morte di … Continue reading Without Knowing Anything About Her/Senza Sapere Niente di Lei (1969)