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Bruno Mattei, Sleaze Merchant - A Biography

by Mike Haberfelner

July 2008

Films directed by Bruno Mattei on (re)Search my Trash

 

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Italy is a country that spawned an extraordinary number of famous horror directors. Some of them are sheer brilliance, like Mario Bava [Mario Bava bio - click here], Riccardo Freda or Dario Argento. Others show at least the occasional shot at greatness, like Lucio Fulci [Lucio Fulci bio - click here] or Antonio Margheriti [Antonio Margheriti bio - click here]. Then there are those who have never been great horror directors but have made at least the occasional entertaining and/or iconic film like Joe D'Amato [Joe D'Amato bio - click here] and Umberto Lenzi [Umberto Lenzi bio - click here].

And then there's Bruno Mattei ...

 

Bruno Mattei was a director who never saw himself as an artist, he saw himself as a craftsman, and he would merely deliver what was asked from him - with all the limitations that includes. 

The thing was, as a director, Mattei never rose above the depths of sleaze and gore, and in this segment of the market, you are usually asked to deliver just that, sleaze and gore. Everything else, like a even modestly comprehensible plot, ok dialogue, inventive camerawork, tongue-in-cheek humour, believable or likeable characters, or even character development, is a bonus, a bonus many other sleaze-directors have the ambition to afford - Mattei never did. He delivered the gore, he delivered the sleaze, but no redeeming values. Where for example fellow sleaze director Jess Franco fills his films up with some of the most outrageous (in a good way) camerawork and goes over-the-top most frequently and hilariously so, Mattei's films are always on a what-you-see-is-what-you-get-level, pretty much if you order sleaze and gore, don't complain if that's exactly what you get. Plus, one can't help noticing the ruthlessness Mattei tends to treat even the most likeable characters in his movies with, invariably putting shock value over audience identification.

 

That all said, Mattei was not an untalented director, if nothing else, his films are at least competently filmed and competently edited. Sure, they are usually atrociously acted, badly scripted, feature some hilariously bad dialogue, and the cost-cutting stock footage he uses frequently in his films is usually less than convincing - but maybe that's already the wrong way to watch his films. While Mattei-flicks might not work as narrative cinema, they work perfectly as party films, best watched with a bunch of mates and a few cans of beer - a situation where a plot as such is much less important than the frequent outbursts of sex and/or violence, and where the guys' cheering won't take your mind off the plotline - since there is none to speak of.

 


 

Early Life, Early Career

 



Bruno Mattei was born in 1931 in Rome, Italy. His father had a small editing studio there, so it was only natural for Mattei to enter the family business, and in 1951, at the age of 20, he took a job in his father's studio, and eventually, he became a full-fledged editor, editing or co-editing a whole bunch of Nick Nostro's films but also Harald Reinl's Der Letzte Mohikaner/The Last of the Mohicans (1965) [Harald Reinl bio - click here], films by Sergio Sollima, Roberto Bianchi Montero, Bitto Albertini's Goldface, il Fantastico Superman/Goldface, the Fantastic Superman (1968), Erwin C.Dietrich's Die Nichten der Frau Oberst/Guess Who's Coming for Breakfast (1968), Jess Franco's El Conde Dracula/Count Dracula (1970) and the like. Apart from that, he worked in many other filmmaking capacities, including the sound and camera department, and a stint as assistant to the great Riccardo Freda, to really learn every aspect of the craft, until, in 1970 ...

 


 

Rise to Fame: The 1970's

 




In 1970, Mattei was finally promoted to director, and his first film was Armida, il Dramma di una Sposa, a rather straight erotic drama - but that film didn't catch on with the audiences, so this meant back to the editing room for him for another few years.

Interestingly, Mattei directed his debut film under the name Jordan B.Matthews, which already shows how much pride he put in his own work. Over the years, countless other pseudonyms would follow, including Vincent Dawn (his most prominent alias), Gilbert Roussel (not to be confused with the French director of the same name), Jimmy Matheus, Stefan Oblowsky and Pierre le Blanc. Now it's of course true that Italian genre directors tended to use pseudonyms just to stand a better chance on the international market - even Sergio Leone directed his gourndbreaking Per un Pugno di Dollari/A Fistful of Dollars (1964) as Bob Robertson -, but that doesn't explain the sheer endless variety of names Mattei used for his films, many of them even after they were already clearly traced back to him (like Vincent Dawn).

 

Among the films Mattei edited during his second stint as editor there was the enjoyably trashy giallo La Casa d'Appuntamento/French Sex Murders (1972, Ferdinando Merighi) and two films starring Laura Gemser [Laura Gemser bio - click here], Velluto Nero/Black Emmanuelle, White Emmanuelle/Emanuelle in Egypt (1977, Brunello Rondi) and Eva Nera/Black Cobra Woman (1976) by Joe D'Amato.

Together with Joe D'Amato [Joe D'Amato bio - click here], Bruno Mattei also made his debut as a screenwriter, for the film Emanuelle e Francoise le Sorelline/Emanuelle's Revenge (1975, Joe D'Amato), a sleazy picture about a model (Rosemarie Lindt) getting revenge on the man who raped her (George Eastman) - by having sex with countless men before his very eyes. Of course, the film was more D'Amato's movie than Mattei's, and D'Amato was certainly no stranger to sleaze, but still, Emanuelle's Revenge did already show Mattei's handwriting, especially his ruthless handling of even loveable characters and his turning the film's narrative into a mere hanger for wall-to-wall-sleaze.

 

Finally, in 1976, Bruno Mattei returned to the directing chair for Cuginetta ... Amore Mio!/Love Sacrifice another straight forward sexflick he also wrote together with George Eastman and Giacinto Bonacquisti. But just like Armida, il Dramma di una Sposa, Love Sacrifice failed to create more than a ripple and is by today largely forgotten.

 


This all should change with Mattei's third film, the first real Mattei-film, if you may: Casa Privata per le SS/SS Girls (1977). More than a little inspired by the relatively high-brow Salon Kitty (1976, Tinto Brass) - to a point where Mattei copied sequences on a shot-by-shot basis -, this is another film about a Nazi-run brothel where the whores are used as spies on fellow Nazis. But where Brass gave his subject some serious thought, Mattei only exploits it for showing some wall-to-wall sleaze interspersed with some violence and combat-scenes boldly lifted from some other war movie (and not a very good one at that). And he seems totally oblivious to the humourous aspects of his story (like the girls' lovemaking intercut with them training for combat), the obvious satire of some of his scenes (like when Nazi commanders and prostitutes come together for a final orgy during which they all shoot themselves in the head), and he invariably fails to milk the film for its camp qualities. However, like most of his later films, SS Girls does one thing, it delivers exactly what you paid for when you bought a film by that title, no more and no less.

 

SS Girls was of course made on the cheap, which shows, and not only in the interspersed war movie scenes. But to further cut costs, Mattei had to film it back-to-back with another Naziploitation film, KZ9 - Lager di Sterminio/Women's Camp 119/SS Extermination Love Camp (1977) - if for no better reason than to make the best out of the locations and costumes already available ... and by the way, throughout his career, Mattei repeatedly shot films back-to-back for cost-cutting reasons.

 


Women's Camp 119 was sleazy as hell, just like SS Girls, but other than the earlier film is focussed less on sex and camp and more on gore and violence - and again, Mattei delivered ... and in spades, too.

 

SS Girls and Women's Camp 119 at the time were only moderate successes since the Naziploitation-genre was at its height in 1977, and since too many producers were making similar films, each film could only get a relatively small share of the market.

After these two films, Mattei threw in with Joe D'Amato again, [Joe D'Amato bio - click here], to co-direct the new footage of both Notti Porno nel Mondo/Emanuelle and the Porn Nights (1977) which was followed the next year by Emanuelle e le Notti Porno nel Mondo 2/Emanuelle and the Erotic Nights/Emmanuelle the Seductress/Porno Exotic Love (1978), which he also did together with D'Amato. Both films were actually what you would dub mondo-films, collections of sleazy stock footage (and newly shot sleaze) hosted by Laura Gemser [Laura Gemser bio - click here], to make the most of her fame as Black Emanuelle. Mattei worked on these films not merely as director, but also as supervising editor, and his long experience in this field must have helped (you have to remember, he started to work in the editing department in 1951).

 


The next logic step down the sleaze ladder from sex-mondo movies would be hardcore porn - and Bruno Mattei gradually moved into that direction.

Cicciolina Amore Mio/Ciccionlina My Love (1979, co-directed with Amasi Damiani) features a few explicit shots but wasn't yet hardcore, yet important for the Italian porn industry nevertheless because it was the first showcase for notorious pornstar-turned-politician Ilona Staller's (aka Cicciolina), who was to soon become Italy's biggest pornstar, a genre she would stay with for the next or so 15 years. (It's true that Staller made films before this one, but they were strictly softcore.)

 

Mattei followed his Cicciolina-film with Sexual Aberration - Sesso Perverso/Libidomania (1979), which was a sex mondo film more in style of Emanuelle and the Porn Nights and Emanuelle and the Erotic Nights, which was supposedly based on the book Psychopathia Sexualis by Richard von Krafft-Ebbing, and which claimed to show all sorts of sexual aberrations, including transvestitism and sex change, sex with amputees and the like. True, Sexual Aberration - Sesso Perverso still wasn't hardcore, but it felt even sleazier.

Its sequel however, Sesso Perverso, Mondo Violento, which Mattei made in 1980, didn't even shy away from hardcore, and neither did his La Provinciale a Lezione di Sesso (1980).

 


 

The Golden Years: The 1980's

 

Somehow, at least on paper, Bruno Mattei and hardcore porn seemed to be a perfect match: Mattei never shied away from sleaze, which is one of the foundations of the genre, he was one who in his films always pushed the envelope, which seems to be one of porn's prerogatives, and his films were always pretty much in-your-face, which again is a perfect description for hardcore pornography ... yet after 1980, Mattei left the genre to never come back. Sure, he made a handful of softcore flicks every now and again, but he never again crossed the line.

 



Instead he followed his excursion into pornography with two nunsploitation films, L'Altro Inferno/The Other Hell and La Vera Storia della Monaca di Monza/The True Story of the Nun of Monza (both 1980). And while The True Story of the Nun of Monza is pretty standard fare, your typical sleazy period pic set in a monastery with quite a bit of sex and violence thrown in, The Other Hell is a modern day story that clumsily blends nunsploitation mainstays, horror à la The Exorcist (1973, William Friedkin), and zombies - then extremely popular in Italian cinema - to a weird movie with an even weirder (and almost incomprehensible) plot that tries to sit between too many stools at once, and on the one hand fails miserably but on the other is lots of fun to watch - provided you don't take any of the onscreen goings-on the least bit seriously (even if the movie itself clearly does).

The Other Hell by the way, was the first film on which Bruno Mattei worked together with Claudio Fragasso, who co-wrote the script with Mattei and who over the years became Mattei's most frequent partner-in-crime, as writer as well as assistant director, co-director and whatnot.

Yet another point of interest is that The Other Hell boasts a sountrack by popular Italian horror filmscore band Goblin - which was entirely lifted from Joe D'Amato's better Buio Omega

An interesting aspect about these films is that they didn't do particularly well in Italy, a land that by then had been plagued by a few too many nunsploitation films, but sold quite admirably on an international level, as grindhouses around the world seemed to be in dire need of films full of violence and sleaze - and Mattei, as mentioned above, was one who could deliver. As a consequence, most of his movies would be more successful in foreign markets than in his native Italy, where he would never achieve the same kind of fame he had achieved internationally.

 


Virus/Hell of the Living Dead/Zombie Ceeping Flesh (1981) took the zombies, which were only featured attractions in The Other Hell, and put them center stage. One has to understand that in Italy, following the success of both Dawn of the Dead (1978, George A.Romero) and Zombi 2/Zombie Flesh Eaters (1979, Lucio Fulci [Lucio Fulci bio - click here]), zombie films were the thing to do for quite a few years. Of course, Italian zombie films were mostly cheaply and quickly made, badly scripted and acted, but heavy on (crude) gore effects - all of which fitted Mattei's modus operandi quite perfectly.

Hell of the Living Dead itself is - entirely stupid, a film freely borrowing not only from zombie classics like Dawn of the Dead and Zombie Flesh Eaters, but also - possibly in an attempt to justify the tons of jungle stock footage - from movies of the cannibal genre like the not-so-classic Emanuelle e gli Ultimi Cannibali/Emanuelle and the Last Cannibals (1977, Joe D'Amato [Joe D'Amato bio - click here]). And again, Mattei borrowed a Goblin-score, this time from Dawn of the Dead and Contaminazione - Alien Arriva sulla Terra/Alien Contamination. But while Hell of the Living Dead might be an entirely bad movie on every level, it's yet another laugh riot - again for all the wrong reasons.

 



From the jungle of New Guinea, where Hell of the Living Dead was set (though it was shot entirely in Spain), Bruno Mattei went back to ancient Rome for his next two films, Caligola e Messalina/Caligula's Perversions/Caligula and Messalina (1981) and Nerone e Poppea/Nero and Poppea: An Orgy of Power/Caligula Reincarnated as Nero (1982), both co-directed with Antonio Passalia. Again, he was of course following a trend, that of the erotic peplum, a genre initiated by Tinto Brass' notorious Caligola/Caligula (1979) and brought to its climax by the maybe even more notorious Caligola: La Storia mai Raccontata/Caligula: The Untold Story (1982). In a parallel to above-mentioned Salon Kitty, Brass' Caligula still had some intelligence to it beneath all sleaze and depravity, but the many erotic peplums that followed were little more than mindless sleazefests, and the films by Mattei and Passalia were of course no exception.

 


Next, Bruno Mattei tried his hands on the women in prison genre, a genre that at first sight seems to be cut out for a director of Mattei's ilk: It's sleazy and violent by definition, it's got a basic storyline that practically tells itself - innocent girl is thrown into the slammer and has to endure all sorts of hardship and degradation - and that allows its director to go over-the-top every which way he pleases ... just take a peak at Jess Franco's women in prison films and you'll know what I mean.

However, both Violenza in un carcere femminile/Violence in a Women's Prison/Emmanuelle in Hell (1982) and Emanuelle Fugal dal'Inferno/Emanuelle's Escape from Hell/Women's Prison Massacre/Blade Violent (1983) are among Mattei's lesser films, mainly because Mattei took one of erotic cinema's most beloved characters, Black Emanuelle - as played by Laura Gemser [Laura Gemser bio - click here] -, a character Joe D'Amato abandoned quite a few years back, and not only threw her into the slammer but also forced the genre onto her - a genre the always horny, optimistic and easy-going Black Emanuelle just wasn't cut out for.

 

1983 also saw the release of a film Mattei himself wasn't really cut out for, I Sette Magnifici Gladiatori/The Seven Magnificent Gladiators, an old-fashioned peplum starring Lou Ferrigno [Lou Ferrigno bio - click here] and Sybil Danning [Sybil Danning bio - click here], with former Hercules-actors Brad Harris [Brad Harris bio - click here] and Dan Vadis in supporting roles. The film was one of production company Cannon's attempts to cash in on the barbarian-genre made popular by John Milius Conan the Barbarian (1982), a genre that worked pretty much along peplum-lines and required little more than a bodybuilder (in this case Ferrigno) and a bit of violence. However, the very traditional basic narrative of the peplum wasn't much to Mattei's liking, nor was its pseudo-grandeur, and thus The Seven Magnificent Gladiators - a film also inspired of course by Shichinin no Samurai/The Seven Samurai (1954, Akira Kurosawa) - has become little more than a footnote in the annals of the barbarian-genre - a genre admittedly rich in footnotes.

 


Bruno Mattei however was back to form with Rats - Notte di Terrore/Rats: Night of Terror (1984). Rats: Night of Terror is an enjoyably trashy post-doomsday film in which a gang of half-witted bikers stumble into a science lab beneath a bar (?) somewhere in the wastelands - and instead of making the best of use of it, they let themselves be attacked and eaten (in great detail) by local rats ... and the final scene, in which a team of exterminators arrives that turns out to be rats (human-sized and on two feet), is simply a scream all in itself. So no, Rats: Night of Terroris not a good movie, but it's loads of fun in a guilty pleasure sort of way.

 


Bruno Mattei next tried his hands on the Spaghetti Western - sure, the genre as such had fallen from grace about ten years ago, but obviously Mattei and/or his producers thought a quick buck could still be squeezed out of Western cinema if only the films were violent and relentless enough to hit a chord with the gore-crowd - and thus Mattei made Bianco Apache/White Apache/Apache Kid (1986) and Scalps, Venganza India/Scalps (1987), both co-directed by Claudio Fragasso. Neither of these films was a big success, but at least Scalps has over the years garnered a certain notoriety and is repeatedly re-released on DVD.

An interesting note on the side: Scalps was co-scripted by former Spaghetti Western actor Richard Harrison [Richard Harrison bio - click here], who doesn't act in it though, while White Apache stars Harrison's son Sebastian.

 

Following his brutal excursion into the old West, one can't help but notice that Mattei lost a bit of his edge, drifting off into action movie territory. By then, in the mid of the 1980's, the homevideo-revolution was just taking place, and exploitation directors like Mattei didn't direct so much for grindhouses anymore but for the shelves of video rentals that demanded films to cash in on popular action flicks of its time, films like the Rambo-series starring Sylvester Stallone of course, Predator (1987, John McTiernan) starring Arnold Schwarzenegger, and the like. So Mattei made countless films with actors who could be labelled as poor man's Sylvester Stallone or poor man's Arnold Schwarzenegger, people like 


  • Miles O'Keeffe, with whom Mattei did Double Target (1987), which rather inexplicably also starred Donald Pleasence [Donald Pleasence bio - click here].
  • Reb Brown: Strike Commando (1987), also starring Christopher Connelly and Robowar - Robot da Guerra/Roboman (1988), an unashamed Predator- and Robocop-rip-off (1987, Paul Verhoeven).
  • Brent Huff: Cop Game (1988), a film set in Vietnam re-using extensive footage from Antonio Margheriti's I Sopravvissuti della Citta Morta/Ark of the Sun God (1983) [Antonio Margheriti bio - click here], Trappola Diabolica/Strike Commando 2 (1988), Nato per Comattere/Born to Fight (1989).

Generally speaking, Mattei's action flicks were still trashy as hell, violent for the violence's sake, cheaply enough made to include tons of stock footage, badly acted, and also, Mattei wasn't exactly a director too proud to copy sequences from other, more popular films scene-by-scene (which he had already proven in earlier films, to be sure). It's just that his horror flicks were usually a whole lot more entertaining.

 


Of all the films Bruno Mattei made during the late 1980's, only one film reached real, albeit sad, notoriety: Zombi 3/Zombie Flesh Eaters 2/Zombie 3 (1988) a film credited to Lucio Fulci [Lucio Fulci bio - click here] that was supposed to be his return to form and long-overdue sequel to (what else) Zombie Flesh Eaters. However, about halfway through filming - which took place in the Philippines -, Fulci reportedly walked away from the set, and Mattei was flown in to finish the thing - and Mattei's influence clearly shows in some scenes: His total disregard for his characters, his predilection for straight-in-your-face gore and his neglect for any kind of decent narrative. But what was actually charming in Mattei's earlier shockers did totally not work here, and the film became little more than a pointless series of scenes of mindless violence that are not even bad in a funny way, just bad - and thus, Zombie Flesh Eaters 2 might be the low point not only in Lucio Fulci's career (who, let's face it, was a much more inventive director than Mattei) but also in Bruno Mattei's, and it's probably only thanks to Zombie Flesh Eaters that this sequel (sequel only in name, mind you) is to this day still reissued every few years ...

 


 

Decline in the 1990's and Comeback in the 2000's

 

Bruno Mattei started the 1990's with a trashfilm fan's delight, Terminator II/Shocking Dark (1990), a postdoomsday flick set in future decaying Venice - but basically taking place mostly in a powerstation. In Italy, where copyright laws are traditionally lax, this was actually sold off as a sequel to James Cameron's Terminator (1984) - hence its original title -, but it actually plays much more than another Cameron-film, Aliens from 1986 - of which Mattei has lifted most of the plotline and several sequences -, with just a few Terminator-elements thrown in and a timetravel-finale that's a hoot all in itself. The plot is something about a mutant created by some evil gouvernment organisation, an even more evil cyborg (Chrisopher Ahrens) trying to hunt it down, and a woman (Haven Tyler) and a girl (Dominica Coulson) caught somewhere in the middle - and the whole thing is of course derivative as hell, and hell of a fun to watch.

 


After this great start into the new decade though, time wasn't too nice anymore to Bruno Mattei. By 1990, the Italian filmindustry, and especially the B movie industry, was lieing in its death throws, as the American phenomenon of the blockbuster was more and more taking over both cinemas and video rentals both in Italy and internationally, and Italian genre fare became harder and harder to sell.

 

Still, Mattei wasn't one to sit around idly, so he turned to the one genre (this side of hardcore pornography) the blockbuster had not yet conquered (and wasn't likely to), erotica. And thus, over the next few years, Mattei directed a handful of rather pointless softsex flicks, like Desideri/Desire/Dirty Love 2/Mad Love 2 (1990), Tre Pesci, una Gatta nel Letto che Scotta/Three for One (1990), Ljuba/Body and Soul (1996), Belle da Morire/Killing Striptease (2001), Capriccio Veneziano/Venetian Caprice (2002), Belle da Morire 2 (2005) and Segreti di Donna/Secrets of Women (2005).

 


True, during the 1990's, Mattei also made a few thrillers, mostly rip-offs of bigger films, but they were a far cry from his 1980's sleaze- and gorefests. Some of the more memorable were

  • Omicidio al Telefono/Telephone Murders (1994), a film inspired by Silence of the Lambs (1991, Jonathan Demme).
  • Gli Occhi Dentro/Eyes without a Face (1994), a rather decent giallo-style serialkiller-film.
  • Fauci Crudeli/Cruel Jaws/Jaws 5 (1995), an obvious rip-off of Steven Spielberg's overrated Jaws (1975) - that audaciously lifts most of its shark footage from Enzo G.Castellari's L'Ultimo Squalo/The Last Shark (1981) [Enzo G.Castellari bio - click here] - which is of course another Jaws-rip-off - as well as quite a few other shark shockers.



It wasn't until the new millenium though that Mattei's career got a new lease of life:

More than most other Italian genre directors, Mattei had read the signs of the time correctly and has therefore found his future in the shot-on-video market and in producing his films for an international audience. Therefore he set up a deal with the Film Export Group, which - nomen est omen - would sell his films to markets eager for his sort of exploitation films rather than first try them out at the home market and take it from there.

There was of course a downside to this, the budgets for Mattei's films got even lower than before, any decent, name actors were out of the question, and shooting on video had of course its limitations ... but all this mattered very little to Mattei, not a proud man to make his name as an auteur but a craftsman who could deliver to audience needs - and thus, Mattei got back to form with films like


    Flix.com


  • The incredibly sleazy Snuff Killer - La Morte in Diretta/Snuff Trap (2003), virtually a dirty and unforgiving (and unofficial) remake of Paul Schrader's Hardcore (1979) - though because of its subject matter (snuff), people are more likely to liken it to Joel Schumacher's more recent 8mm (1999).
  • A duo of cannibal films of which Nella Terra dei Cannibali/Land of the Dead (2003) lifts most of the storyline from Predator (as did Roboman before it), with cannibals filling in for hunter aliens, and Mondo Cannibale/Cannibal Holocaust - The Beginning (2003) is an unashamed rip-off of Ruggero Deodato's Cannibal Holocaust (1980) [Ruggero Deodato bio - click here], copying not only the storyline and setup as such but also whole sequences from that movie shot-by-shot without ever even trying to replicate its message.


  • La Tomba/The Tomb (2004) is actually an updated mayan mummy-movie - though I'm not quite sure if anyone ever wanted this genre to have a comeback.
  • With Anime Perse/The Jail: A Women's Hell (2006), Mattei returned to the women in prison-genre, to milk it for some more sleaze.
  • Shortly before his death, Mattei completed a pair of zombie-films, L'Isola dei Morti Viventi/Island of the Living Dead (2006) and Zombi: La Creazione/Zombies: The Beginning (2007), no doubt to cash in on the reemergence of the zombie genre. And while his zombie flicks pale in comparison to even the trashier Italian genre flicks from the early 1980's concerning pure genre fun, it's still nice to see that at least one veteran director hasn't forgotten his roots. And these films are not too badly made, either. Plus, with Filipino actress Yvette Yzon [Yvette Yzon interview - click here], who has previously been in a handful of Mattei's erotic flicks, he has found one of his most talented leading ladies in a long time ...

 

Closing words

 

In May 2007, Bruno Mattei died from a brain tumor in his native Rome, Italy, and it would be a vast overstatement to say that with him, the horror genre lost a great auteur, or without him, Italian horror would never be the same again - because Mattei never was great, and to be fair, he never claimed to be. But Bruno Mattei was one of those directors who make watching genre movies from the cheap end so much fun, because with him, you never know to which depths he would descend next, you would never know how sleazy he would dare to get, or how in-your-face the next outbreak of violence would be. 

Sure, most of his films qualify as what would be considered as bad films, period - but trashmovie lovers like myself cannot always denie the fun they have watching them !!!

 

© by Mike Haberfelner


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Thanks for watching !!!



 

 

On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide
WHICH IS WORSE!!!

 

A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
starring
Ryan Hunter and
Rudy Barrow

out now on DVD

 

 

Stell Dir vor, Deine Lieblingsseifenoper birgt eine tiefere Wahrheit ...
... und stell Dir vor, der Penner von der U-Bahnstation hat doch recht ...
... und dann triffst Du auch noch die Frau Deiner (feuchten) Träume ...

 

Und an diesem Tag geht natürlich wieder einmal die Welt unter!!!

 

Bauliche Angelegenheiten
ein Roman von
Michael Haberfelner

 

Jetzt kaufen bei
Lulu.com