The Howl

The Howl, released in 1970, is a socio-political surrealistic exploration in avant-garde Italian cinema. It is directed by Tinto Brass, enlisted the talents of actors such as Tina Aumont, Gigi Proietti, and Nino Segurini in pivotal roles. The pure vision of Brass, combined with the tremendous performances by the cast, gives us a film that ardently breaks conventions, disorients the viewer, and spurs us into a frenzy of intense thought.

The movie opens with the beautiful Anita (Tina Aumont), who is set to marry her lover Berto (Nino Segurini). However, on their wedding day, she meets Coso (Gigi Proietti), a stranger at her wedding. An impulsive decision leads her to abandon her nuptials and join this mysterious man on a chaotic and haphazard journey, starting upon a peculiar experience both confounding and intriguing. As they journey through different scenarios--a war, a trial, a rigged election—one starts to comprehend the anarchy, disorder, and unpredictability of a world that veers away from the ordinary.

Tinto Brass succeeds in creating an eccentric world that reflects the social and political turmoil of the time, bolstered by an air of fantastical mystery that heightens the sense of uncertainty. Much like Alice’s tumble down the rabbit hole in Alice in Wonderland, Anita’s voyage with Coso across the unfathomable scenarios represents a journey deep into the realms of the unknown and absurd. However, instead of childhood innocence, The Howl deals with complex themes of adult life molded within a prism of satirical black humor and surreal imagery.

Tina Aumont, as Anita, wonderfully embodies a naive and unsuspecting individual turned rebel, her transition marked by moments of sexual awakening, fear, courage, and eventual transformation. Gigi Proietti, as the enigmatic Coso, captures the viewers' curiosity and furthers the intensity and unpredictability of the situations they face. The charismatic villainy of Nino Segurini offsets these characteristics. Each actor contributes richly to the myriad shades of their characters, making the narrative lively, engaging, and profound.

Amid the surrealism, Brass interweaves his film with an array of complex characters. All of them are colorful, unpredictable, and steer away from stereotyping. This is a testament to Brass’s cinematic finesse, which makes every character, whether main or supporting, contribute to the overall narrative potency and intrigue.

The film’s music adds another unusual layer to intrigue. Composed by Fiorenzo Carpi, the soundtrack sets the pace for the bizarre series of events unfolding onscreen. From serene folk to frenetic jazz, the sound designs contribute to the rollercoaster ride of unpredictable emotions and scenarios. The cinematography further complements this approach. Shot across varied landscapes, the film presents a mixture of lush landscapes, claustrophobic cities, and decaying ruins, making one question the duality of freedom and confinement, beauty, and grotesque.

The Howl is not only about its characters or director Brass’s vision, it is also about the era it represented. Released in 1970, the film serves as a testament to the sociopolitical unrest, the rise of counterculture, and the questioning of institutionalized norms. It also encapsulates the experimentation of European cinema during that time, blending drama, romance, black comedy, surrealism, and political satire to create a vivid tapestry of ideas.

In retrospect, The Howl stands as a cinematic oddity that might startle, confuse, or provoke the viewer. It is a venture into a topsy-turvy world that constantly surprises and disconcerts, compelling you to reconsider your perception of society, freedom, politics, love, and human nature. It is a movie that demands to be seen for its audacity, its bewildering charm, its challenges to the norm, and its intriguing power to leave the viewer enthralled. The film invites us to participate in its bizarre narrative, prompting us to think critically and question the status quo. The bizarre turns maddening, the maddening turns enlightening, and that's where The Howl finds its unique resonance— in a space that's disquietingly far from comfort yet deeply captivated by its perplexing allure.