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Il prato macchiato di rosso (1973)

 |  Horror  |  2 March 1973 (Italy)
5.6
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Ratings: 5.6/10 from 62 users  
Reviews: 6 user | 3 critic

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Title: Il prato macchiato di rosso (1973)

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Cast

Cast overview:
Marina Malfatti ...
Nina Genovese
Enzo Tarascio ...
Dr. Antonio Genovese
Daniela Caroli ...
Max's companion
George Willing ...
Max (as Georg Willing)
Claudio Biava ...
Alfiero, Nina's brother
Barbara Marzano ...
A gypsy
Dominique Boschero ...
A prostitute
Lucio Dalla ...
A tramp
Nino Castelnuovo ...
A UNESCO agent
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2 March 1973 (Italy)  »

Also Known As:

Red Stained Lawn  »

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2.35 : 1
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User Reviews

 
A Throwback to 1970's Late Night Horror Features
16 September 2004 | by (Columbus, Ohio) – See all my reviews

"The Bloodstained Lawn" (which is the translation of the film's title) is terrific fun for those of us who remember staying up and watching those Friday night double chiller theatre features on local television in the days just before cable TV in the early to mid-1970's. This film has the look, sound, and feel of one of those obscure productions that were cheaply bought by local television and run after the evening news. Despite the fact that my copy is totally in Italian language without any subtitles, I easily understood the plot and thoroughly enjoyed the feature. It centers upon a group of bizarre aristocrats who pick up prostitutes, hippies, and other wanderers off the streets and take them back to their plush mansion, where they are wined, dined, and treated like gold until they are strapped onto the huge (and very kitschy looking) blood draining machine that, as you would suspect, drains every drop of blood from these unfortunates. The blood is then sold and marketed as an ingredient in some kind of a wine-type drink!

An obvious commentary on the rich and powerful exploiting the more unfortunate members of society, this film does not take itself very seriously, and most of the cast, especially Marina Malfatti as one of the aristocrats, appears to be having a good time. The film's claustrophobic atmosphere gives it just enough feeling of unease to make it a credible horror film, and the film's overall weirdness and eccentricity help it cross over the finish line of viewer satisfaction. This film could be the definition of a motion picture "guilty pleasure" although one should not feel guilty during the viewing.


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