‘What Could Have Been’ is a continuing look into the reels of film history, analysing movies that could have been something special, but due to problems with script, production, budgetary, or any other type of issue, did not reach its full potential.
An honest housewife by day who transforms into a kinkier than Betty Page by night. . .this could only be the main character in an Italian giallo. A very late entry into the mystery/thrillers coming out of the boot, director Stelvio Massi brings some seediness to the big screen with Arabella, the Black Angel (1989).
Poor Arabella (Tinì Cansino) is a loving housewife to a very unlovable author, Francesco (Francesco Cesale). Dealt a big blow on their honeymoon (double entendre meant), a punishing car accident has led to him being wheelchair bound for life. If that isn’t bad enough, this author also has writer’s block. . . meaning that he takes all of his frustrations out on his wife. Meanwhile, his mother, Marta (Evelyn Stewart – a true giallo icon, this was her third last feature), just putters around – cooking, cleaning, and at times, peeping.
Whilst Francesco takes his frustrations out on his wife, Arabella has a different coping mechanism. . . leaving him behind in the cover of night for some rather unwholesome entertainment. Frequenting an unbelievably sketchy dilapidated manor, it houses some sort of quasi-violent kink house. . . and boy is she dressed for it. But soon the cops are raiding the place, and she gets into a situation that leads to seemingly unwanted sex and blackmail. It is safe to say that you might never see an opening scene quite like this ever again.
Soon, Arabella is caught when one of her dalliances comes knocking. Instead of infuriating her hubby, it helps him pop a wheelie (double entendre meant), giving him newfound inspiration for his novel. Leading him to send out his gal on a number adventurous affairs (comparing her to his ‘titular’ character from his raunchy first novel – double entendre meant), he starts to thrive living through her erotic romps. . . the only problem is, people start dropping like flies after she pleases them. Firstly, a detective is murdered, then a party animal nicknamed The Cowboy (not going to lie, this was a big loss for the community), each dispatched by a scissor-wielding psychopath who enjoys mutilation a bit too much. These murders really spook the lovely Arabella, leaving her more than shaken.
Almost serendipitous, the Inspector on the case, Gina (Valentina Visconti), had a parent who did something very similar to the murderer. . . giving her a chance to right a wrong, and clear her conscience of her family’s violent past. But will she be able to get to the bottom of this unyielding case?
With some really intriguing ideas, it is a shame that many of them aren’t fleshed out (no double entendre meant). The idea of Arabella being like Francesco’s titular character is quite the concept, and something she reacts quite poorly to, but we are never really given any depth to the story other than the fact she hates the comparison. Likewise, Gina’s sordid family past is never really explored, which might be somewhat understandable once you’ve seen the film, but it could have been handled in a slightly more nuanced way. In fact, little tidbits pop up like this quite frequently, but it seems like this was such a slap-dash production, the time was never taken to round out the script into something more respectable.
Yet, it is often beautiful to look at. Director Massi was a pretty well respected cinematographer, and before that, got his start working in the camera and electrical department (including on the classic A Fistful of Dollars). He understands camera placement and lighting, never missing the opportunity to exploit the sexy and violent nature of this production. It is blatantly tasteless (having pushed the envelope on both fronts too far), but you cannot say it’s not effective in what he was aiming for. In fact, an unorthodox reverse striptease might be one of the more memorable moments of the movie, while a nightmarish dream sequence is somewhat reminiscent of the surrealist work of Luis Buñuel – think Belle de Jour.
Arabella, the Black Angel is an envelope pushing sleazefest – and that’s saying something for a genre that made itself in the realm of murder mystery thrills and moments of titillation. It is definitely not for the faint of heart, and though it often looks good, will likely only be for completionists aiming to see each and every giallo available for viewing. So, wheel into this one if you dare, it might have you standing up in shock at some of the twisty reveals.
This film can be watched in Italian with English subtitles, or in dubbed English