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The giallo-an Italian brand of thriller known for its stylish and lurid excesses-got its start in the cinema with the release of Mario Bava's THE GIRL WHO KNEW TOO MUCH in 1963. Other filmmakers explored the possibilities of such material throughout the 1960s, but it took the release of Dario Argento's impressive debut THE BIRD WITH THE CRYSTAL PLUMAGE in 1970 to ensure the giallo a place alongside the Spaghetti Western and the poliziottesco (violent police thrillers) in the public consciousness. All good things must come to an end, however, and the glut of imitations throughout the early 1970s gradually wore down public interest in the genre. Even so, it stubbornly clung to life and mutated throughout the 1970s even as American filmmakers like John Carpenter and Sean S. Cunningham took inspiration from it to create the slasher film. SO DEADLY, SO PERVERSE: 50 YEARS OF ITALIAN GIALLO FILMS VOLUME TWO offers a look at the gradual decline of the giallo from 1974 until 2013. The decline of the Italian film industry in the 1980s hit every genre hard and the giallo is no exception. Despite the best efforts of directors like Argento to keep it alive and vibrant, the giallo simply never managed to rebound after a late period of stylistic and gory excess typified by offerings like Argento's TENEBRAE and Lucio Fulci's THE NEW YORK RIPPER in 1982. Author Troy Howarth explores the genre's decline and picks out some late period entries worthy of more serious praise and consideration. Volume two also offers an overview of the giallo and its place in the Italian film scene by Italian writer and filmmaker Luigi Cozzi, of CONTAMINATION fame. Like volume one, this edition is also lavishly illustrated with colorful still, posters and advertising art.

Beginning with the release of Mario Bava's THE GIRL WHO KNEW TOO MUCH in 1963, Italian filmmakers developed and perfected their own peculiar brand of mystery-thriller known as the giallo. Named after the yellow (giallo in Italian) covers of the murder mysteries published by Mondadori, the giallo is awash in fetishistic imagery. For many fans, these films-popularized in the works by writer-director Dario Argento, whose name is synonymous with the genre, thanks to such films as THE BIRD WITH THE CRYSTAL PLUMAGE and DEEP RED-focus on stylized images of violent death: killers dressed in black stalking glamorous-looking victims through baroque architecture, literally painting the walls red with their blood. This is only one aspect of the giallo, however. With their groovy soundtracks by legendary composers like Ennio Morricone and Stelvio Cipriani and glamorous damsels-in-distress like Edwige Fenech, Rosalba Neri and Asia Argento, these films offer a heady mixture of sex, horror and suspense; at their best, they took excess to a hypnotic level. Troy Howarth, the author of THE HAUNTED WORLD OF MARIO BAVA and the co-author of the up-coming THE TOME OF TERROR series, examines the genre from its inception through its inevitable decline. Covering everything from popular fan favorites by the likes of Mario Bava, Lucio Fulci and Dario Argento to lesser-known gems by Cesare Canevari, Massimo Dallamano and Paolo Cavara as well as the worst of the worst by the least inspired of hacks, SO DEADLY, SO PERVERSE provides an in-depth examination of a genre that has too often been marginalized in other studies of the horror film and the thriller. In addition to reviews of every giallo made between 1963 and 2013, this two-part study of the giallo-with volume two (covering 1974 onwards) coming later in the year-is also lavishly illustrated with rare and colorful stills and poster art.

The giallo-a specifically Italian brand of lurid thriller-emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular-with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.The giallo-a specifically Italian brand of lurid thriller-emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular-with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.