A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Sunday, June 1, 2025

What Have They Done to Your Daughters? (Massimo Dallamano, 1974)

Giovanna Ralli in What Have They Done to Your Daughters?

Cast: Giovanna Ralli, Claudio Cassinelli, Mario Adorf, Franco Fabrizi, Farley Granger, Marina Berti, Paolo Turco, Corrado Galpa, Michaela Pignatelli, Ferdinando Murolo. Salvatore Puntillo, Eleonora Morana. Screenplay: Ettore Sanzò, Massimo Dallamano. Cinematography: Franco Delli Colli. Art direction: Franco Bottari. Film editing: Antonio Siciliano. Music: Stelvio Cipriani.

When a pregnant 14-year-old girl is found hanging naked from the rafters of a garret apartment, the first thought from the police is suicide, but that quickly turns to murder. And so begins the lurid, exploitative What Have They Done to Your Daughters? Naturally, the filmmakers try to take the edge off of the charges of exploitation by suggesting in the opening credits that the nudity and violence in their film serves a larger purpose of exposing an important social problem: the sexual trafficking of adolescent females. Still, the movie has all the thrills of its hybrid genre: a fusion of giallo and poliziottesco. There's a masked killer wielding a butcher's cleaver, an exciting car chase, a grisly dismembered body, some good-looking leads in Giovanna Ralli as the DA in charge of the case and Claudio Cassinelli as the chief investigator, and even a cameo by Farley Granger as the victim's father. But there's also an eerie prescience about the film's conclusion: For although the immediate case is solved, the investigators learn that the trafficking problem stems from sources they can't approach for investigation. So we find ourselves reminded by a 50-year-old movie of the Jeffrey Epstein case, with its own lesson about the invulnerability of the very rich and very powerful.