And how the appearance of such inappropriate, unconvincing hybrids were one signal-as they were for the Spaghetti (Euro-) Western before-that the genre had reached its last, box-office gasps. Roberto Curti’s book on Eurocrime, ITALIAN CRIME FILMOGRAPHY, 1968-1980, talks about this phenomenon in terms of the uneasy and ineffectual ways that slapstick and sex-comedy elements were eventually married to the Eurocrime. (Or, perhaps worse, how it encourages people who have only dabbled in the genre to assume that this is the default style for all 70+ Krimis made between 19 i.e., the “Scooby-Doo argument ”.) And how this disconnect makes it difficult for some people to take the genre seriously. I’ve covered more than once the sometimes unsatisfying, hybrid nature of too many Krimis: the broad, cartoon way that “camp” elements rub up against the violent and grisly elements.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |