The Wasteland Reviewer

The Wasteland Review Request: The House with Laughing Windows (1976)

What is one of the key elements of Italian cinema? There are two specifically Italian genres that have stood the test of time. Italian Neo-Realism was defined and perfected by filmmakers like Federico Fellini. Authentic and raw. They captured a more grounded look at humanity. On the opposite end of the spectrum, Italian filmmakers have made their impact on the horror/thriller genre. Giallo are rich and vibrant Italian horror films with plenty of blood, mystery, and flair. Filmmakers like Argento and Bava paved the way and crafted this legacy for other filmmakers to play around in that sandbox. In 1976, writer/director Pupi Avati took his own deeply twisted approach to the genre with The House with Laughing Windows.

What makes Avati’s film resonate for modern audiences? This is a deeply disturbing and unnerving experience. The pacing of the film is deliberate and engrossing. The feeling that Avati craft is the type that crawls underneath your skin and just doesn’t go away. Even the most mundane moments in the film are deeply disturbing with the overwhelming feeling of dread. One of the effective approaches to building terror in the film is long takes that sit inside dimly lit areas and spaces. The cinematography by Pasquale Rachini is dynamic and has a distinct modern horror feel. The way the camera navigates spaces pulls you into the experience. Avati plays with dark space, old ruins, and rustic settings to provide a wholly engrossing experience. The atmosphere is an interesting mixture of Giallo and folk horror elements. Avati’s decision to shun the urban elements of most Giallo films and set things in a twisted and isolated small town was an inspired choice which he maximizes well. The opening sequence of the film is eerie, and unnerving is a provocative way which certainly sets the tone for the rest of the film (even if it pushes your limits along the way).

Does the story that Avati and the fellow writers crafted match the atmosphere and direction well? The core of the film is a haunting mysticism around an artist and provocateur Legnani. His works are nothing short of disturbing and horrific. The pieces are beloved by this small, isolated community that housed this artist. A young art restorer named Stefano arrives in this village to restore one of Legnani’s twisted church frescos. This young man gets caught up in the darkest that Legnani has left behind and the village that seems to know more than they are leading on. The story is a tad loose but gives space for Stefano to navigate the strange and mysterious members of this small village community. There are even sprinklings of romance as Stefano is drawn to this mysterious and alluring young teacher who captures his fancy. There are some beats where the methodical pace is felt but the overall experience is quite haunting. In good Giallo fashion, there is a mystery at the end of Stefano investigation that will shock you and push your limits. The motifs of both Giallo and folk horror mixed deliver quite the twisted tale that delivers a satisfying experience by the end.

Does the cast stand out in this haunting cinematic experience? The audience is following Stefano throughout the film and Lino Capolicchio does a fine job of bringing this character to life. This is not a dynamic performance in the sense that the film relies on Stefano to be a dynamic and layered character. Capolicchio’s job feels more akin to channeling the experience of the audience. Stefano wanders into this twisted hornet’s nest of a village and we, the audience, experience this all with him. Capolicchio delivers with affecting reactions to all the madness, mystery, and darkness that infest this village. The local teacher is portrayed by Francesca Marciano, and her job is quite straightforward as well. Be alluring. Be magnetic. These are things easier said than done but Marciano delivers fantastically. The way she commands the camera when it cuts to her is quite impactful and engrossing. For this film to reach its potential, this village needs to feel disturbing and mysterious. The crew of Italian actors that Avati pulls together delivers in spades.

Does The House with Laughing Windows stand up with other great films in the Giallo genre? This effort from Avati feels a little different from the works of Argento and Bava. That is a good thing. The inspired mixture of different horror genres gives this something unique and engrossing. The impressive filmmaking that crafts this oppressive and grim atmosphere is quite fascinating. The House with Laughing Windows is not for the faint of heart. If you can get past the opening credits and the disturbing and provocative tone that Avati sets, you will be in for a ride. Don’t worry…there are some shocking elements just waiting for you to experience.

Special thanks to Luke Burian for nominating The House with Laughing Windows (1976)!