A group of oil prospectors travel to an outpost in a jungle on the island of Mindanao. The two prospectors Robert (Massimo Foschi) and Rolf (Ivan Rassimov) find the abandoned remains of the original prospecting camp. After one of them is captured and held prisoner by a cannibal tribe, with the help of a sympathetic cannibal woman he escapes and heads into the jungle hoping to find his one surviving companion.

Ultimo.mondo.cannibale.AKA.Jungle.Holocaust.1977.Uncut.English.Dub.576p.Bluray.AAC.2.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 32 min
Size: 	2.38 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 415 kb/s
BPP: 	0.319
Audio
#1:  	English 2.0ch AAC LC @ 192 kb/s
#2:  	English 2.0ch AAC LC @ 74.0 kb/s (Commentary by film journalist Ian Jane and Italian film fan Horace Cordier)

https://nitro.download/view/1D4FDB104AE34B1/Ultimo.mondo.cannibale.AKA.Jungle.Holocaust.1977.Uncut.English.Dub.576p.Bluray.AAC.2.0.x264-SaL.mkv

Language(s):English
Subtitles:None

The post Ruggero Deodato – Ultimo mondo cannibale AKA Jungle Holocaust (1977) first appeared on Cinema of the World.

Quote:
Following on from the successful television adaptation of Sandokan in 1976, a year later Kabir Bedi gave life to the big screen incarnation in this Sergio Sollima-directed film.

1.86GB | 1h 59mn | 694×572 | mkv

https://nitro.download/view/DECBD35CFC34186/Sandokan.to.the.Rescue.1977.DVDRIP.x264.AC3.KJNU.mkv

Language(s):Italian
Subtitles:English

The post Sergio Sollima – La tigre è ancora viva: Sandokan alla riscossa! (1977) first appeared on Cinema of the World.

Cottafavi’s adaptation of Aeschylus’ play.

Michael Billington wrote:
The Persians is the oldest surviving work of Western drama. First performed at the City Dionysia in 472 BC, The Persians takes a nuanced approach to the matter of war and conquest. It was a direct inspiration for the French national anthem, ‘La Marseillaise’. Percy Shelley’s drama Hellas was written in response to it. It’s the only play from the classical era that deals with historical events rather than mythological ones. In short, The Persians is a fascinating play and Aeschylus’ handling of war is worthy of closer inspection and analysis.

The real-life historical incident which inspired Aeschylus’ play was the Greeks’ victory over Persian forces at the Battle of Salamis in 480 BC. The Persian King Xerxes attacked the Greeks at Salamis in a sea battle because he wanted vengeance following his defeat at the earlier Battle of Marathon ten years before. Given that Aeschylus’ play was first performed just eight years later, many of the spectators in the original audience of The Persians would have either fought in the conflict or known someone who had. In summary, Aeschylus’ play focuses on the Persian court, where Xerxes’ mother, Atossa, and a chorus of old men, await news of Xerxes’ military attack. Unfortunately, when news arrives, it could hardly be worse: Xerxes’ Persian army has been annihilated by the Greeks. The ghost of Xerxes’ father, Darius, then appears, lamenting his son’s hubris (a common trope in Greek drama) in thinking he could beat the Greeks, especially when he’d already been vanquished once. The play ends with the return of Xerxes, who reproaches himself for his hubris.

Aeschylus could have written a play glorifying the Greeks’ military might and revelling in their decisive victory over the Persians. National pride must have been high among Greek subjects in the wake of Salamis. But he didn’t do that. Instead, in The Persians he offers an altogether more morally ambiguous take on the recent conflict, and – by extension – on the nature of all war. If history is written by the victors (a claim which is highly suspect in itself), then at least the victors can attempt to put themselves in the shoes of those over whom they have been victorious. Aeschylus was not just a playwright: he was a soldier as well, and had fought at the Battle of Salamis. He knew first-hand, as many Athenians did, what war was like. He may well have realised that, in the long run, there are no ultimate victors when it comes to military conquest.

It’s true that The Persians can be read as jingoistic self-congratulation – or at least, that those in the original audience, if so inclined, could have taken that reading from it. After all, the Persians are shown to have been foolhardy in thinking they could beat the mighty Greeks, and in depicting their humiliating defeat, Aeschylus reinforces the Greeks’ seeming invincibility. Xerxes is shown to be arrogant and gets a good whipping; even his own father shakes his ghostly head at his son’s silly dreams of victory against the doughty Greeks. In Greek drama, hubris such as that displayed by Xerxes is punished by nemesis, or retribution – and so it is in The Persians. The play might be interpreted, then, as a story about the jumped-up Persians getting their just deserts. But it’s more than that. Aeschylus goes to some lengths to show the suffering that war causes, and the losses suffered by the Persians in their doomed campaign. Another feature of Greek drama was the idea of catharsis, whereby the spectator was encouraged to observe the events of the drama and then reflect on his own behaviour. So we might analyse The Persians as a warning to the Greeks, too: don’t get too cocky or ambitious, or you might suffer the same fate as Xerxes and his army.

The very fact that the precise meaning of The Persians remains elusive and difficult to pin down or analyse is what makes it such a satisfying work of art. It invites different interpretations, its meaning residing in the eye of the beholder. Aeschylus offers a satisfying play because he refuses to offer us satisfyingly neat conclusions – about war, about conquest, about human nature.

1.03GB | 1h 25m | 704×512 | avi

https://nitro.download/view/013FB2EE9CE1455/Vittorio_Cottafavi_-_I_Persiani_(1975)__VO_.avi
https://nitro.download/view/64867DEAD6A4AC8/I_Persiani_(Vittorio_Cottafavi,_1975).ENG.srt

Language(s):Italian
Subtitles:English

The post Vittorio Cottafavi – I persiani (1975) first appeared on Cinema of the World.

Michele Grassadonia is a fervent environmentalist. A long time ago, he moved from Palermo to Siena, its ideal city. He has carried out an experiment in his flat for longer than one year: living in full self-sufficiency, without running water or electricity. On a rainy night, Michele gets caught up in a series of confusing and mysterious events. From this moment on, his joyful experience in the ideal city starts to waver.

1.36GB | 1h 40mn | 640×272 | avi

https://nitro.download/view/229F1AEBC4395DB/La.Citta.Ideale.2013.iTALiAN.DVDRip.XviD-TRL.avi https://nitro.download/view/A35D92C3FDDA4F9/La.Citta.Ideale.2013.iTALiAN.DVDRip.XviD-TRL.idx https://nitro.download/view/E562E0EDBEC602F/La.Citta.Ideale.2013.iTALiAN.DVDRip.XviD-TRL.sub

Language:Italian
Subtitles:English, Italian

The post Luigi Lo Cascio – La città ideale AKA The Ideal City (2012) first appeared on Cinema of the World.

Synopsis:
Nine members of the same family go to an island, where nobody lives – but the head of the family owns a nice house there. Problem is that he and his three sons keep a dark secret, and this dark secret begins to haunt them as soon as they are on the island. One by one falls victim to a mysterious killer.

Review:
Another day, another giallo gem from Camera Obscura. This time Nine Guests for a Crimeout we have one of the later twists on the whole “group of people getting knocked off in a beautiful location” formula, churned out as the genre was getting sleazier and cheaper in the latter half of the ’70s. Nine Guests for a Crime is the handiwork of the late Ferdinando Baldi, a director best known for his spaghetti westerns like Blindman and Comin’ at Ya! However, as he proved with the ultra-sleazy Terror Express, he could splash around in sleazy waters as well as anyone, and this one definitely fits in that category.

This time out, a prologue involving man getting attacked and buried in the sand while still alive sets the tone for this sun and surf slasher film in which rich, older businessman Ubaldo (Living Dead at Manchester Morgue’s Kennedy) hauls his family to an isolated villa on a rocky island. On the boat ride over they swap observations like “My dear, why don’t you think about all the times you betrayed your husband,” just the first of many catty, sex-obsessed exchanges during the running time. Once they arrive the squabbling escalates, the blouses start falling off, and important pistols get tucked away for safety in metal boxes we just know will come in handy later. Then a killer in a scuba outfit pops up to to fire a flare gun into one of the family’s nameless sailors and stashes the yacht out of sight, leaving everyone stranded on the island to swim, fish, and die. Meanwhile one of Ubaldo’s sons, Michele (Jungle Holocaust’s Foschi), keeps making the movies on his dad’s Nine Guests for a Crimesexy new wife (Persichetti) while his own “frigid” and “stupid” spouse (Emmanuelle 2’s Laurence) turns a blind eye. Michele’s two brothers, Lorenzo (Torso’s Richardson) and Walter (City of the Living Dead’s Venantini), have their own domestic issues to deal with, but that all falls by the wayside when the bodies start piling up (and disappearing at random). Then the survivors stumble on a literal skeleton in their closet connected to Ubaldo’s spinster sister, Elizabeth (Ghia), and all hell really breaks loose.

Though too formulaic to be a classic, Nine Guests for a Crime is a lively and entertaining offering crammed with some surprisingly vicious murder scenes (one character getting wrapped in a net and set ablaze is particularly harrowing). The ridiculously overqualified cast easily elevates the script by Fabio Pittorru, the scribe behind the very similar The Weekend Murders as well as other gialli like The NIght Evelyn Came Out of the Grave and The Red Queen Kills Seven Times, while composer Carlo Savina drapes it all in a slinky score complete with liberal quotations from his work on Lisa and the Devil. Basically imagine a much raunchier, bloodier remake of Mario Bava’s Five Dolls for an August Moon, and you’ll get the idea.

— Nathaniel Thompson (Mondo Digital).

1.03GB | 1 h 23 min | 855×364 | mkv

https://nitroflare.com/view/B0FC39E8EFF1AF3/Nine.Guests.for.a.Crime.1977.DVDRip.x264-HANDJOB.mkv

Language:Italian
Subtitles:English, German (muxed)

The post Ferdinando Baldi – Nove ospiti per un delitto AKA Nine Guests for a Crime [+commentary] (1977) first appeared on Cinema of the World.