If you are reading this blog then in all likelihood you are open minded regarding your films and see age as just a number. The advent of home entertainment has provided several opportunities for films to be released and re-released with every iteration from VHS onwards and with each release the opportunity to find new fans.
Generally speaking the films that benefit most from this process are decades old and as such manage to appeal to both new and old audiences due to the superior quality offered or additional material they provide over past releases. Although recent times have also seen more modern films receive this treatment, after all how many different versions exist of the major Hollywood blockbusters, which are at best an attempt to provide fans with as much footage and value as possible and at worst a cynical cash-grab. Normally the latter.
With that in mind there one version of a re-release that is most likely to have some artistic merit – the director’s cut. Often released after the producers and distributors have made their required money, these versions allow a film to be seen as it was originally intended (or at least they would have you believe) and theoretically give the director another chance of putting their vision on screen away from the pressures and requirements of the business philistines or distributor demands.
In genre cinema we have seen several companies do this with older films, one only has to look at Shameless with their release of Cannibal Holocaust, although perhaps this is not the best example given that some of the cuts made were enforced by the BBFC.
Regardless of the reasoning behind it however each release, of both new and old movies, gives the market the opportunity to re-evaluate and re-discover films within not only a new, wider context (allowing us to use hindsight and take into account movies that followed) but also a personal one – had we been lucky enough to be witness it the first time.
One such film that I believe was overlooked upon its initial release back in 2009 was HOUSE OF FLESH MANNEQUINS, the debut film from Italian director Domiziano Cristopharo, which is now due to benefit from an extended director’s cut to mark its ten year anniversary. I say extended as a 2009 release also boasts being a directors cut, although I suspect that this release was more of a business decision made by others with an aim for a quick return as opposed to any desire for the film to be seen.
Talking of the film, it follows a loner artist named Sebastian (Domiziano Arcangeli) who has a history of abuse and a strange fixation but when he meets a beautiful woman (Irene Violette) who takes an interest in his life and work despite the reservations of her father (Giovanni Lombardo Radice) things set off on a path of no return.
A strange and compelling watch, HOUSE OF FLESH MANNEQUINS displays influences from not only the likes of Joe D’Amato but also David Lynch and Michael Powell amongst others all wrapped up within some beautiful cinematography and an almost arthouse sensibility combining to make something unique and that would arguably go on to define the directors own personal style.
Seemingly buried by distributors, while an unrated edition that exists is even more hidden and perhaps targeted at a very specific section of society, in that time that has passed since these releases the Roman director has been extremely prolific and is only now seeing the fruits of his labour, particularly in the United States of America, where his more recent films such as RED KROKODIL; THE TRANSPARENT WOMAN and TWO LEFT ARMS amongst others are now readily available
So why revisit the past? And why a directors cut?
I managed to speak with the director who informed me that this release was simply to mark the ten year anniversary of its release and rather than a simply be a straight up re-release that this special edition will be used to “bring back the original shape of the movie”. Something that sounds very intriguing.
This release will feature new music alongside additional footage that has never been seen before, with this covering original footage that he “had to cut because it was considered too obscene,(but) now thanks to movies like A SERBIAN FILM that were released four or five years after our movie, extreme is more acceptable, more normal but [back then] it was a different story”. Considering that HOUSE OF FLESH MANNEQUINS was no playful, family friendly romp in the first place one can only wonder what else will be included.
On this note Domiziano Cristopharo promises that this release will be “unrated and more shocking” and I have no doubt will appeal to many if it gets the distribution it deserves. Including the Unearthed Films audience, a company who also distributed A SERBIAN FILM, and who will be familiar with the Italian director thanks to his recent contributions to the label (such as RED KROKODIL and a number of the AMERICAN GUINEA PIG series).
Despite never quite benefitting from first mover advantage, HOUSE OF FLESH MANNEQUINS arguably helped contribute to kickstarting to the erotic and sexual horror sub-genre, an area in which its director has generally continued to pursue, and it is hoped that this release will go some way in claiming some of the dues that it thoroughly deserves.
Domiziano Cristopharo has some way to go in claiming the fame and notoriety of the forerunner Joe D’Amato, despite arguably creating more technically competent films, but his past, present and future (see the poster for NUDI E MORTE) all point towards him finally claiming that throne.
Although no distributor or release date has been announced this is one release that is worth keeping on your radar. Discover the trailer for the HOUSE OF FLESH MANNEQUINS below: