L'urlo (1970) watch online HD

Just viewed "The Howl" in its entirety on the big screen at the Egyptian Theater here in Hollywood tonight. Aptly named. Italian Freakout '70. Makes "Gas-s-s-s" (1970) look like a brief Sunday school production. Some very compelling scenes. But a bit of an endurance test. Avoid if you can't take watching a duck get its head lopped off in closeup (the lady behind me didn't like that too much). Lots of nudity, lots of talking, a fair amount of violence, and, being a late-60's/early-70's movie, lots of people running around outside. Zero story. Big on visuals, social commentary, and ideas. Surreal, somewhat disturbing, at times beautiful. They sure don't make 'em like this any more. Pretty interesting soundtrack, as well. The sound was REALLY good on the print I just viewed.

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.

Good luck.

"2 Eggs; to break, broke, broken", the only English phrase spoken and theme song in Tinto Brass' "L'Urlo". What a film! The only available version of this film I could find had no subtitles. Either way it doesn't matter since it is very visual. When most people here the name Tinto Brass, right away they think of the horrid sleaze epic "Caligula", or some might name "Salon Kitty". If your lucky, you'll here of some who have seen his fun slapstick sex comedies from Italy like "Miranda" and "All Ladies Do it". Known mainly for his lighthearted sex romps with curvy women, Tinto Brass' earliest experimental films were much different. Heres a recipe for a film like "L'Urlo". Take some Fellini, add some Jodorowsky/Arrabal and a little table spoon of Godard for extra kick, stir and you got yourself "L'Urlo". One crazy psychedelic, surrealist anti-war art orgy. A bus is lit on fire! Hippies are chased by riot cops. There's stock footage of Vietnam and other wars with a machine gun showdown! S&M, slapstick sexuality, a man's pursuit of a beautiful lady... abstract art and nudity galore! Most memorable is a man in a gas mask jumping around with nude people while goose feather's fill the air! One amazing experimental protest movie! Rebel art at its finest! The films music and images are amazing! This is one film that screams for a DVD release, not to mention a soundtrack. The one song during the burning bus scene sounded like the punk band "Dead Kennedys", almost 10 years before they were around. This film is pure punk rock, before punk even existed. Who says that political, subversive films can't be fun? This ones a must see!

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.

Still is a good movie

To begin with, I do not consider myself a fan of Italian sexploitationer Brass; however, having enjoyed a couple of his atypical earlier work – the Spaghetti Western YANKEE (1966) and the pop-art giallo DEADLY SWEET (1967) – I expected more of the same to be of comparable quality (for the record, I have three others still to check out from this vintage). Anyway, I was deeply disappointed by the film under review – especially after reading it was deemed surreal (in retrospect, it is much closer to the style of fellow Italian Federico Fellini or Alejandro Jodorowsky, whose brand of weird I particularly deplore, rather than that of my all-time favorite Luis Bunuel). Well, bizarre (and virtually plot less) it certainly is but, as to engaging, quite the opposite – making for an annoying and downright repellent experience! Just about its sole saving grace, in fact, is the hauntingly beautiful presence of leading lady Tina Aumont: she, a bolting bride, and popular Italian comic Gigi Proietti are the 'heroes' who go from one wild encounter to another – notably an orgy, a cannibal family and a city under siege (from what I can recall, since the film has already started to fade from my memory, within the space of just one week!); an inspired self-referential moment even has the central couple literally running into Jean-Louis Trintignant, protagonist of DEADLY SWEET!