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In a commentary Tinto Brass recorded for the DVD release of his film L'Urlo (aka The Howl), the director described it as "a film not about 1968, but of 1968." While Brass was referring to the fact that this movie was shot during that year of international tumult, L'Urlo is very much a product of its time, which in this case doesn't work to its favor. Brass's notions of political and social satire may seem reasonably sincere in this movie, but they're also bludgeoningly obvious, and pretty much any time he can find a way to throw nudity or sex into his anti-authoritarian slapstick he does, which makes the movie look more like a faux-psychedelic soft core porn effort than a pointed commentary on contemporary mores. (Given Brass's later body of work, that shouldn't surprise anyone.) L'Urlo can be seen as a companion piece to Brass's Nerosubianco (aka Attraction and Black On White) -- both films have no real narrative and simply toss one playful visual outrage after another at the audience. But while Nerosubianco was incoherent and obvious but an entertaining guilty pleasure, L'Urlo meanders a lot more as it rambles along, and while the racial subtext of Nerosubianco gave that picture some sort of consistent thread, L'Urlo is far more scattershot and fewer of its arrows hit the target. The camera clearly loves Tina Aumont as Anita, but she doesn't have much to offer besides her beauty, and while Gigi Proietti (here billed as Luigi Proietti) demonstrates why he became one of Italy's favorite screen comics, he often seems to be mugging simply because there isn't much else for him to do. L'Urlo is a movie about a society in upheaval made by someone who doesn't seem to care about politics as much as sex and rude comedy, and while Tinto Brass does better by the counterculture than, say, Benny Hill, that doesn't mean he set the bar very high with this effort. User Reviews. I understand this is something of a cult film but I don't know why. By 1970, the year of this release, the psychedelic cycle had been peddled to near pattern exhaustion. There wasn't much left after the reckless abandon of Richard Lester's stuff, especially "A Hard Day's Night" in the early sixties. And parodist nonsense must have reached the stage of ejaculatory inevitability with "Casino Royale" in 1967. Yet here is Tinto Brass, picking the gleanings a couple of years later, and apparently doing it with exuberance, as if it were his very own discovery. The pop images pop in and out, there are nonsensical inserts, actors speak lines of gibberish (three actors at a time), the performers are either beautiful or grotesque. (I think here we see the influence of Federico Fellini. If you're going to ape, ape the best.) Brass seems to believe that any crazy thing he puts on the screen will sell. Random bits of newsprint. A man masturbating. A duck having its head chopped off. A surrealistic poster. If a shot last longer than a few seconds, he simply inverts the image. Voila! Invention! I won't describe the plot because there is so little of it to describe. A rapist escapes from prison. He's picked up by strangers and they all register at a motel that is itself psychotic. I mean the architecture. The man behind the counter weighs several hundred pounds, speaks in a falsetto, and does nothing but burp and fart and kill mice. "Finnegans Wake" makes more sense. Dennis Hopper's "The Last Movie" is a logical tract by comparison, and Hopper at least had the excuse of being thoroughly stoned all during the shoot. I was able to endure about forty-five minutes of this bloated attempt at modernism. The alternative was to start chewing on the rug. This review contain spoilers. A young bride is arrested after an incident in a manifestation after that her fiancée tell her to married but in the middle of the ceremony she saw an strange who smiles at her and she run away with him. After that they started to have lots of strange adventures. This was my first Tinto brass movie and is also a very dificult movie to see. It didn't had any subtitles so i have to guess what they're saying well at least i know a couple of things about the italina language. The movie is funny and had great character both Anita and Coso had great chemistry and i love the scene where they dance. But after that the movie start to downhill like Tinto Brass looses the narrative and also i hate the ending. Spoilers Why Anita have to died? i was hoping that she and Coso stay together. But i think coso was some kind of manifestation or interpretation. The end was kinda of sad because you liked the pirnciple characters. Free Trumpet Loops Samples Sounds. The free trumpet loops, samples and sounds listed here have been kindly uploaded by other users. If you use any of these trumpet loops please leave your comments. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. Any questions on using these files contact the user who uploaded them. Please contact us to report any files that you feel may be in breach of copyright or our upload guidelines. This list only shows free trumpet loops that have the word trumpet in the title or description. Use the search box to find more free trumpet loops and samples. Free download L'urlo brass. DVD NOW AVAILABLE! THANKS TO CULT EPICS! The 1:1.85:1 transfer at 16×9 is not the best, but don’t blame Cult Epics! That was the best material available. Really. I’m not joking. So don’t gripe. Just enjoy it. If you really feel compelled to gripe, then help out with a proper restoration, and cross your fingers and hope that the master elements still exist somewhere. If this doesn’t display, download the video here: MP4 or OGV . This is the second movie produced by Tinto’s personal company, Lion Film. The investor was Dino de Laurentiis, who presold the distribution rights seemingly to La Distribuzione Titanus, and maybe to some international distributors as well (Paramount, as per the logo posted in the hotel?), but I don’t know. How Dino managed to invest in this production remains a mystery to me, because he had evaded his taxes and fled to Hollywood. The Italian tax authorities seized all his traceable Italian holdings, including his studio, Dinocittà, and his back catalogue, though many of his possessions and rights were hidden away under the names of legal fictions, and thus escaped the That explains why Dino took no credit on this film. When the Ministero del Turismo e dello Spettacolo’s censor board banned this movie, Dino was too far away to throw his weight around. I know nothing about the budget, I know nothing about how money was moved from investors to the production, I know nothing about the contracts, I know nothing about how the distributor(s) got any investments returned, and I’m just dying to learn about it all. Further, where are the film elements? Tinto shots miles of material that he never included in the movie. He shot with microphones, but then dubbed everything later. Where is the production audio? It seems that he prepared an English version as well (subtitles or dub, I do not know), though I cannot be certain of that. Where is it? Tinto has only a battered, unprojectable 35mm print of a pre-censored edition, and whether that be his original authentic edition, I do not know. He has all the rights, but he does not have the physical materials. Some corporate entity still has the masters in some warehouse somewhere, probably under the name of a shell corporation, or maybe divided among multiple shell corporations. Maybe it’s under Giada Film? Maybe it’s under FilmAuro? Maybe under something else? We need to dig this material up and rescue it. Who wants to help? CLICK HERE FOR THE MOST INTELLIGENT ANALYSIS OF THIS MOVIE THAT I’VE EVER RUN ACROSS. You see, I don’t like explaining things that don’t absolutely need explaining. When others decide to explicate, that’s fine; they can do it, but I personally don’t want to do it. So when I wrote a description of this movie, I deliberately kept it as superficial as possible. Now Amy R. Handler has done such a beautiful job of getting at this movie’s meanings and purposes that I threw in the towel and deleted much of my own scribblings. So read Amy’s piece, please. Oh! And look at this! Thanks to some exceptional librarians, I recently discovered that Amy Handler interviewed Tinto about this movie. That was in the March 2010 issue of Film International , a handsomely produced Norwegian publication. I was trying to find a back issue for myself when a friend, just by coincidence, sent me the link to the online edition: “If history runs, cinema can�t keep walking: an interview with Tinto Brass.” It’s an excellent interview, well worth reading. Actually, that is probably the best interview that Tinto ever gave, because he was being interviewed by probably the best interviewer he ever had. The readers’ comments underneath make my heart flutter. Of course, I’m still going to try to get the back issue. I had no idea at all how to reach Amy Handler. When I was recently in Boston/Cambridge, I saw advertisements for The Psych Drama Company. I didn’t know what it was and I certainly didn’t have even three minutes to myself to explore. Now I discover that Amy is the Director of Publicity there. Darn it! Darn it! Darn it! Had I known I would have carved out some time to pay a visit. Well, next go-round. I’ve watched this movie countless times. Now, I can’t speak, read, write, or understand Italian. I need to spend just a few months in Italy to pick up the language. In the meantime, when watching movies I can struggle a bit and get the gist. But not with this movie. Finally I got a translation of the dialogue. And now I see why I could never understand it before. Here’s an example. A priest is performing a wedding ceremony: What did the lion tell Coso and Anita in the cemetery? Well, I still feel stupid, but I don’t feel that stupid anymore. Many of the locations look nothing like England, and according to Cinema X (vol. 1 no. 4 [1969?]), in addition to England, the film was made “on location in Rome, Naples, Berlin, Paris, and on a nudists’ island.” Filming began at the end of September 1968 and wrapped by about 1968. The budget, as with Heart in His Mouth and N EROS UBIANCO , was close to zero. This was Brass’s first collaboration with the fabulous Fiorenzo Carpi, whose music is infectious, especially his upbeat theme song, “It’s an Evil World; It Won’t Tolerate Love” (“È un mondo cattivo non tolera l’amor”). L’urlo received its world première a year later at the Berlin Film Festival on Saturday, 27 June 1970. Anita liberates the prison. (Where on earth was this filmed?) How could a movie like this miss? Simple: The Italian censors banned it. Brass could have compromised by cutting the film, but he stuck to his principles. By the time the censors cleared the film for release in 1974, the grooving hippie scene, which had inspired this film, had pretty much vanished, and so the movie died. The Cry seems to have been planned at one time as the official English title, and then, as you can see above, a logo gave the title as Howl , but since the film was seemingly never released internationally, that hardly matters. Various journalists have referred to L’urlo as The Howl , The Shriek , The Screech , and The Scream . Take your pick. ASTONISHING YOUTUBE VIDEO! While L’urlo was being filmed, someone made this little 16mm home movie. An Argentine friend began to interpret this for me. He spotted a brief glimpse of Gigi Proietti (I can’t recognize him) and he noted that this movie was clearly made by Frédéric Pardo, whom Tina was dating at that time, after having separated from Christian Marquand. The conversation posted beneath the video reveals that the guitarist is a movie director named Philippe Garrel who was filming Tina in another movie at the time, Le lit de la vierge , and that this home movie ties in with that as well. Take a look! NOTE: Luigi “Gigi” Proietti also worked on four more Tinto Brass projects: he appeared in Dropout , he sang two songs in La vacanza , he was to have starred in a never-made movie called Punch , and he also directed the Italian dubbing of Salon Kitty . So I guess they’re friends. Their friendship was strained when Gigi so much wanted to appear in Caligula , but Tinto said No because his English was too halting. Oh well. ANOTHER NOTE: Brass does several voices, including that of Karl Marx. AND YET ANOTHER NOTE: Please don’t be too put off by the bits with the mouse and the goslings. When I saw a bootlegged videotape, it really looked like the hotel proprietor killed the mouse on camera. Now that I’ve finally seen a clear, sharp, colorful store-bought original tape from Italy, it is apparent that the dead mouse had been dead for some time before the cameras started rolling. So I don’t know if they killed the poor little thing. (I adore mice — I like mice more than I like most people, actually.) And the cook who prepares goslings for dinner was obviously dealing with a gosling that had been freshly killed. Still disturbing to watch, though. The movie would have been a thousand times better without those two little bits. By the way, there were even more disturbing scenes in two later Brass films: Salon Kitty with its very brief slaughterhouse scene, and Caligula with its animal carcasses. Ugh! But please, even if you’re an animal lover like me, watch L’urlo anyway. It’s easily one of the best and most imaginative and most upbeat movies ever made. HOMAGES: In the midst of clips of war atrocities are clips from Roberto Rossellini’s magnificent Paisà , which had appeared previously in Chi lavora è perduto . I’m sure that in addition to this and the references to Munch and Bosch and Ginsberg and “The Tree Army Poem” and probably hundreds of other things that I’ll never be able to recognize, are some items that you out there in Internet Land can fill me in on. Yes? QUESTION: Sometimes movies make me feel stupid. I guess I’m supposed to recognize the French revolutionary hymn, but I don’t. Can anyone tell me what it is? (I’m familiar with La Marseillaise and Ça ira , as well as with Eugene Pottier’s communist hymn L’internationale , but I guess there were hundreds of others too.) ANSWER: Thanks to Serge Bromberg and the Alliance Française of Los Ángeles, I now have the answer. The tune was taken from a Russian song composed by Anna Marly. The French lyrics were composed in London in 1943 by Joseph Kessel and Maurice Druon. The communist hymn was called “Le chant des partisans,” and it was once proposed as the national anthem. Little did I realize that her mother was Maria Montez, who became a central character in Gore Vidal’s mind-bendingly surreal novel Myron . Tina’s late husband, of course, was Christian Marquand, who nearly misdirected Buck Henry’s script of Candy (he misunderstood the American slang — but someone rescued him just in time). Variety , Wednesday, 25 September 1968, p. 32: Variety , Wednesday, 1 July 1970, p. 13: One is bound to have mixed feelings about such a mixed grab-bag of a film as this latest by the unevenly talented Tinto Brass, a young Italian who’s successfully rummaged through film libraries but lately come up with a style of his own. This irreverent nose-thumbing blast at modern manners and mores still has a familiar ring about it at times (Godard, Fellini, Pasolini and, inevitably, Buñuel) but a lot of it is fun once the spirit is assimilated and the intent becomes clearer. It could catch on here and there as a cult and college circuit item. But the outlook is limited at best, despite such fillips as nudity, cannibalism, gang rape, anti-clericalism, masturbation, necrophilia — you name it: it’s all derisorily there to be mocked by the writer-director. Story-wise, it’s a jumble and hard to follow at first as Brass takes aud on a sort of odyssey through a present-day Dante’s inferno by following a young girl (Tina Aumont) who runs off with a stranger (Luigi Proietti) on the eve of her wedding to a middle-class square (Nino Segurini). The anti-establishment messages are all there, graphically or symbolically, on their joint journey. Some are amusing, others over-stated. Pic is ultimately pretentious, but more winningly so than some of Godard’s increasingly boring recent pamphlets.