made with
sorry for the mistakes!
L'Etrusco uccide ancora
Tuchulcha the chthonic daemon for the Etruscans, an archaeologist and a
famous conductor, that is, an intellectual, original and somewhat
mysterious setting, (given the presence of the Etruscans). First of the
two thrillers by Armando Crispino, which achieves the same good and
above all original results with the subsequent "Macchie Solari",
following the wake of Dario Argento, although, according to some, the
same Argento owes something to Crispino (especially for this film ).
In any case, it is necessary to recognize that Crispino knows how to
move well behind the camera and to know how to choose good
collaborators such as Erico Menczer on cinematography and Riz Ortolani
on music (but not original).
Perhaps, he knows how to choose the performers less well, with Alex
Cord, an actor who then goes on to TV and then to charity and horses,
as the protagonist. In addition, let's say unfortunately because acting
is the Achilles' heel that brings down all the good will of Crispino,
who in addition to being a poor protagonist finds little adequate
supporting figures like a tired Samantha Eggar (Oscar candidate
in 1966) and an equally unlikely John Marley, also with an important
curriculum.
However, oh well, unconvincing performances happen, but the problem
with this film is not just this. It is known that a thriller need great
deal of fear or at least annoyance, which however in "The Etruscan
still kills" the public does not try.
All that remains is to enjoy the great originality of the situation,
namely the Etruscan tombs and the possible reincarnation of the demon
Tuchulcha who kills couples, without forgetting some very happy
insights from Crispino.
Jason Porter (Alex Cord) is an archaeologist, alcoholic and manic, who
discovers in the Etruscan necropolis of Tarquinia an important fresco
depicting Tuchulcha protagonist of human sacrifice. Shortly afterwards
the bodies of a young couple are found in the tomb. The commissioner
Giuranna (Enzo Tarascio), investigates, starting from two shoes left at
the crime scene, discovers that Porter had an affair with Myra (Samatha
Eggar) wife of the well-known conductor Nikos Samarakis (John Marley).
He, she and the other seems to be the common thread of everything, but
the twists and turns do not miss until the last (and beautiful) scene.
A film to be rediscovered, as much as its director and the Etruscans of the title.
