Come to think of it, quite a lot of things were "blood-stained" in the wicked world of 70s Italian cult cinema! I've seen films that dealt with bloodstained orchids, shadows, butterflies, and now even a full lawn! The title, by the way, refers to a quote spoken by one of the female leads early in the film already. When she spots a field full of poppies/roses, she states: "Oh, so beautiful, it looks like a blood-stained lawn". That also pretty much gives you an idea of how random this entire film is. I have very mixed feelings about "Il Prato Macchiato di Rosso", and I can't help feeling somewhat disappointed because Giallo & Euro-Cult are my favorite exploitation sub genres and this title stood on top of my watch list. The basic plot is terrifically twisted, the main characters are joyously eccentric, and many sequences are truly beautiful to gaze at, but still the overall feeling is that the full package could have been a lot better. Style is clearly predominant over substance here, whereas the true Italian masters of cult cinema (Bava, Argento, Lenzi, ...) always managed to keep the two in perfect balance. Writer/director Ricardo Ghione obviously isn't one of those masters. It already begins with the opening credits. Teo Usuelli's music is phenomenal and moody, but there are far too many images of one and the same sunset from various camera angles. Did Ghione already run out of inspiration at this point? The next half hour is familiar, if you're into Italian cult that is, but still very well-handled. The sleazy-looking Alfiero picks up a variety of lower-class drifters (a drunk, a prostitute, a fortune-teller and a hitch-hiking hippie couple) and brings them to the villa of his sensual sister Nina and her eccentric husband Dr. Antonio. The latter apparently has a wardrobe full of oversized and ludicrously colored bow-ties and drags a bizarre looking machine that looks like a robot around the house. The guests are treated to copious amount of booze, drugs and orgies, but it's abundantly clear that these crazed aristocrats have vicious plans for them in store. Meanwhile, an ambitious UNESCO-agent (I don't have a slightest clue what the link with this organization could be) tracks down the origin of bottles with human blood that are being sold as prestigious red wine. "Il Prato Macchiato di Rosso" is a frustrating film in the sense that you know what is going to happen, and you also really look forward to some nasty bloodshed and misanthropy, but it just isn't coming. Only the climax is rewarding in terms of gore and thrills, but the disappointment already sunk in too deep by then. Although, I have to say, it rejoiced me to finally see that blood-draining robot device in action! If the overload of dialogues doesn't give you a headache, Enzo Tarascio's increasingly flamboyant bow ties certainly will. Beforehand, I was sure that "Il Prato Macchiato di Rosso" would have entered at a reasonably high position in my Giallo top 100 (albeit not an actual giallo), but I honestly can't give it a good rating. It does receive one extra bonus point, however, for that utterly coolest (yet completely irrelevant) film poster with the blond beauty incorporated into the deep-sea monster.
8 Reviews
Kill the poor!
Red-Barracuda24 March 2012
Warning: Spoilers
This very odd Italian movie is a horror movie with a social commentary of sorts. It's basically about a group of rich, decadent people who pick up various less fortunate people and take them to their remote luxury villa. The aristocrats entertain this assortment of poor people with a wild orgy and plenty of other sensual pleasures. There is a catch, of course. And that catch is that these poor fools are to have all their blood drained from their bodies via a strange machine built by the resident scientist. Their blood is then sold in wine bottles for a tidy profit.
The idea of the rich leeching off the poor is the social commentary. It adds an unusual dimension to what is a quite strange film to begin with. The blood-draining machine and the other bizarre devices in the house give the film a slight science fiction element which is not exactly typical for a film of this type. I wouldn't really go as far as to say that this is a particularly good film though. It's a bit meandering and unengaging a lot of the time. But, as I say, it does have its eccentricities and that is a plus point. It stars Marina Malfatti as the chief ice blonde. She starred in a number of gialli such as All the Colors of the Dark and The Red Queen Kills 7 Times. This film is definitely not up to the standard of those but at least Malfatti gets a more central role in this one.
It's a bit different and it is a definite obscurity. But it's not essential though.
The idea of the rich leeching off the poor is the social commentary. It adds an unusual dimension to what is a quite strange film to begin with. The blood-draining machine and the other bizarre devices in the house give the film a slight science fiction element which is not exactly typical for a film of this type. I wouldn't really go as far as to say that this is a particularly good film though. It's a bit meandering and unengaging a lot of the time. But, as I say, it does have its eccentricities and that is a plus point. It stars Marina Malfatti as the chief ice blonde. She starred in a number of gialli such as All the Colors of the Dark and The Red Queen Kills 7 Times. This film is definitely not up to the standard of those but at least Malfatti gets a more central role in this one.
It's a bit different and it is a definite obscurity. But it's not essential though.
Goofball amazement
BandSAboutMovies8 May 2022
Warning: Spoilers
The Red-Stained Lawn or The Bloodstained Lawn was originally called Vampiro 2000 and infuses science fiction, Gothic horror and giallo all in one wacky package with a bloodsucking robotic cherry on top.
The film takes place in Emilia-Romagna, Italy. There, a United Nations Educational, Scientific and Cultural Organization agent finds a bottle of wine with blood in it. How could this happen to such a well-known vintage from Michelino Croci? What if the winery is a front for a blood smuggling scheme? And how would blood stay good in bottles? So many mysteries!
Dr. Antonio Genovese (Enzo Tarascio), his wife Nina (Marina Malfatti, All the Colors of the Dark, The Red Queen Kills Seven Times, Seven Blood-Stained Orchids) and her brother Alfiero (Claudio Biava) look for people with no ties - hippies, drifters, prostitutes and literally gypsys, tramps and thieves - to lure to an all expenses paid getaway at their castle. Folks like freewheeling musician Max (George Willing, Who Saw Her Die?) and his lover (Daniela Caroli), who have accepted an invitation to spend some time in the Genovese estate, along with the alcoholic tramp (Lucio Dalla, who would become a major singing star in the 80s), a gypsy (Barbara Marzano, The Bloodsucker Leads the Dance) and a sex worker (Dominique Boschero, Argoman the Fantastic Superman).
The bloodsucking machine is literally right out in the open, treated like a piece of pop art. You have to admire that level of out in the open when it comes to an Italian film killer. You also have to love that the killers have a shower that sprays wine and this doesn't bother Max nor his never named girlfriend, nor does the hall of mirrors bedroom seem strange to anyone else. There's also a curtain between rooms that totally looks like female anatomy and even more so a scene taking right out of The Laughing Woman.
Director and writer Riccardo Ghione only made four movies: this one, a documentary called Il Limbo, the hippy drama A cuore freddo and La rivoluzione sessuale, a movie in which 7 men and 7 women perform an experiment inspired by the sexual orgone energy theories of Wilhelm Reich. If that was crazy enough, it was co-written by Dario Argento. He would go on to write several other films, including the Joe D'Amato film Delizia.
I love that this movie stands on the line between arthouse and grindhouse with every decision it makes leaning away from the artistic and toward the prurient and bloody. Sure, there's a message about how the rich subjugate the lower classes, but it's also a film where Malfatti gives speeches about Wagner and how meaningless her victims are, all while a gigantic cartoony machine literally sucks young blood.
The film takes place in Emilia-Romagna, Italy. There, a United Nations Educational, Scientific and Cultural Organization agent finds a bottle of wine with blood in it. How could this happen to such a well-known vintage from Michelino Croci? What if the winery is a front for a blood smuggling scheme? And how would blood stay good in bottles? So many mysteries!
Dr. Antonio Genovese (Enzo Tarascio), his wife Nina (Marina Malfatti, All the Colors of the Dark, The Red Queen Kills Seven Times, Seven Blood-Stained Orchids) and her brother Alfiero (Claudio Biava) look for people with no ties - hippies, drifters, prostitutes and literally gypsys, tramps and thieves - to lure to an all expenses paid getaway at their castle. Folks like freewheeling musician Max (George Willing, Who Saw Her Die?) and his lover (Daniela Caroli), who have accepted an invitation to spend some time in the Genovese estate, along with the alcoholic tramp (Lucio Dalla, who would become a major singing star in the 80s), a gypsy (Barbara Marzano, The Bloodsucker Leads the Dance) and a sex worker (Dominique Boschero, Argoman the Fantastic Superman).
The bloodsucking machine is literally right out in the open, treated like a piece of pop art. You have to admire that level of out in the open when it comes to an Italian film killer. You also have to love that the killers have a shower that sprays wine and this doesn't bother Max nor his never named girlfriend, nor does the hall of mirrors bedroom seem strange to anyone else. There's also a curtain between rooms that totally looks like female anatomy and even more so a scene taking right out of The Laughing Woman.
Director and writer Riccardo Ghione only made four movies: this one, a documentary called Il Limbo, the hippy drama A cuore freddo and La rivoluzione sessuale, a movie in which 7 men and 7 women perform an experiment inspired by the sexual orgone energy theories of Wilhelm Reich. If that was crazy enough, it was co-written by Dario Argento. He would go on to write several other films, including the Joe D'Amato film Delizia.
I love that this movie stands on the line between arthouse and grindhouse with every decision it makes leaning away from the artistic and toward the prurient and bloody. Sure, there's a message about how the rich subjugate the lower classes, but it's also a film where Malfatti gives speeches about Wagner and how meaningless her victims are, all while a gigantic cartoony machine literally sucks young blood.
A "bloodstained lawn" and a big blue bow tie
lazarillo6 September 2009
This is a hallucinatory, somewhat drug-abuse themed horror movie which is kind of an Italian version of a "Coffin Joe" film like "Awakening of the Beast", and with the same subtext of social commentary. It's about a group of aristocrats (a husband, a wife, and the wife's brother) who are literally draining the blood of the people. They pick up the dregs of society--prostitutes, homeless hitchhikers, etc--and take them back to their isolated villa with its weird crimson-colored "bloodstained" lawn. They feed them drinks and weird drugs and engage them in wild orgies before hooking them to a strange machine which drains all the blood from their bodies,which they then package and sell in wine bottles!
This is an genuinely creepy movie. I know little or nothing about the director Riccardo Ghionne, but he definitely does a pretty effective job here. Enzo Tarascio, who plays the husband, is very creepy looking, especially during the orgy scene where he wears a bizarre, over-sized blue bow tie (which like the red lawn is a very off-kilter and disturbing image). His hard-as-nails wife is excellently played by Marina Malfatti, who was in a number of Italian gialli, usually as the second banana to more famous actresses like Edwige Fenech, Barbara Bouchet, or Erica Blanc. This is is one of her few leading roles and undoubtedly her best. The victims as per usual are a pretty hapless lot. Dominique Broschero plays a prostitute--she was a pretty prolific actress during this period, but I'm not very familiar with her previous work. The busty Barbara Marzano plays a female hitchhiker. She mostly did numerous, usually topless cameos in movies like "Torso", but her most famous role was probably in Ferdinand DiLeo's "The Seduction" where she played the sexually curious best friend of the teenage daughter of the girlfriend of the male protagonist, who he cheats on the teenage daughter with AFTER he cheats on his girlfriend with her daughter! Naturally, she's pretty desirable.
The statement this movie makes about the bottomless appetites of the Italian upper classes and the mindless pleasure-seeking of the lowers classes and the aimless youth is pretty blunt and obvious, but effective nevertheless. I was lucky enough to see this obscure but very rewarding movie with English subtitles, but the dialogue is probably the least interesting thing about it. Definitely recommended.
This is an genuinely creepy movie. I know little or nothing about the director Riccardo Ghionne, but he definitely does a pretty effective job here. Enzo Tarascio, who plays the husband, is very creepy looking, especially during the orgy scene where he wears a bizarre, over-sized blue bow tie (which like the red lawn is a very off-kilter and disturbing image). His hard-as-nails wife is excellently played by Marina Malfatti, who was in a number of Italian gialli, usually as the second banana to more famous actresses like Edwige Fenech, Barbara Bouchet, or Erica Blanc. This is is one of her few leading roles and undoubtedly her best. The victims as per usual are a pretty hapless lot. Dominique Broschero plays a prostitute--she was a pretty prolific actress during this period, but I'm not very familiar with her previous work. The busty Barbara Marzano plays a female hitchhiker. She mostly did numerous, usually topless cameos in movies like "Torso", but her most famous role was probably in Ferdinand DiLeo's "The Seduction" where she played the sexually curious best friend of the teenage daughter of the girlfriend of the male protagonist, who he cheats on the teenage daughter with AFTER he cheats on his girlfriend with her daughter! Naturally, she's pretty desirable.
The statement this movie makes about the bottomless appetites of the Italian upper classes and the mindless pleasure-seeking of the lowers classes and the aimless youth is pretty blunt and obvious, but effective nevertheless. I was lucky enough to see this obscure but very rewarding movie with English subtitles, but the dialogue is probably the least interesting thing about it. Definitely recommended.
"You know I don't like to wash"
Bezenby24 January 2018
More socio-political commentary masquerading as a horror film here, as a bunch of soulless rich Italians literally leech off the lower classes in order to make money from illegal medical shipments of blood to war torn nations throughout the world. That message comes across loud and clear. And camp and colourful and daft and ridiculous at the same time.
A strange man drives around an Italian town picking up a prostitute, a gypsy, a drunk guy, and two annoying hippy drifters. He takes them back to his modern home where his sister Nina (Marina Malfatti) and her weird husband Antonio live. Antonio is an eccentric scientist obsessed with biological perfection who has all sort of crazy robots lying around the place. He also sports a ridiculous large wardrobe of gigantic bowties that only add to his strangeness.
The drunk guy seems to be the only one who realises that he's stumbled into some modern version of Hansel and Gretel, only instead of being filled up with sweets and shoved in an oven, the evil rich people give you what you want (booze, jewels, etc) then suck all the blood out of the back of your neck using a bizarre robot that looks like Metal Mickey has gone off the rails pretty badly. Eventually the captives are whittled down enough and the hippies come out of their smug stupor and finally cotton on that they are next.
Meanwhile, there's this agent trapped in a sub-plot throughout the film that initially finds some wine bottles containing blood who is trying to trace everything back to his source. He doesn't get to do much, but I guess he turns up at the right time when needed. Most of the madness occurs inside the house however, my favourite being when Antonio invites everyone who is still alive at that point to enter a weird hall of mirrors he's designed...if only they'll jump through the giant plastic fanny he's using as a doorway!
This is the blackest of black comedy right here, but there are the odd effective bits of horror too, from the hippies finding a fridge full of dead bodies to the exsanguination of the prostitute. This is a fun watch for seventies horror fans.
A strange man drives around an Italian town picking up a prostitute, a gypsy, a drunk guy, and two annoying hippy drifters. He takes them back to his modern home where his sister Nina (Marina Malfatti) and her weird husband Antonio live. Antonio is an eccentric scientist obsessed with biological perfection who has all sort of crazy robots lying around the place. He also sports a ridiculous large wardrobe of gigantic bowties that only add to his strangeness.
The drunk guy seems to be the only one who realises that he's stumbled into some modern version of Hansel and Gretel, only instead of being filled up with sweets and shoved in an oven, the evil rich people give you what you want (booze, jewels, etc) then suck all the blood out of the back of your neck using a bizarre robot that looks like Metal Mickey has gone off the rails pretty badly. Eventually the captives are whittled down enough and the hippies come out of their smug stupor and finally cotton on that they are next.
Meanwhile, there's this agent trapped in a sub-plot throughout the film that initially finds some wine bottles containing blood who is trying to trace everything back to his source. He doesn't get to do much, but I guess he turns up at the right time when needed. Most of the madness occurs inside the house however, my favourite being when Antonio invites everyone who is still alive at that point to enter a weird hall of mirrors he's designed...if only they'll jump through the giant plastic fanny he's using as a doorway!
This is the blackest of black comedy right here, but there are the odd effective bits of horror too, from the hippies finding a fridge full of dead bodies to the exsanguination of the prostitute. This is a fun watch for seventies horror fans.
Mow the poor.
morrison-dylan-fan19 February 2014
Warning: Spoilers
Reading a fellow IMDb'ers reviews a few weeks ago,I stumbled upon a review for a title that an IMDb'er had highlighted to me during the IMDb's Horror board's October Challlenge,thanks to the movie having a wicked sounding Black Comedy streak.Gathering up films to view for IMDb's Classic Film poll for the best titles of 1973,I was delighted to see that 1973 was the movies release year,which led to me excitingly getting ready to get the lawnmower out of the shed for the first time in years.
The plot:
Driving round on the lookout for the 'lowlifes' of society,socialite Nina Genovese and her scientist husband Dr.Antonio Genovese spot a hippie couple looking for a hitch-hike. Generously giving the hippie couple the chance to sleep at their villa for the night,the couple are delighted to discover that the Genovese's are the leading wine makers of the town.
Thrilled at finding wine flowing from every part of the villa,the hippie couple begin to seriously wonder if they could ask the Genovese's if it would be OK if they could stay with them for a few days.Finding that the wine has an oddly unique 'kick',the couple decide to look round the villa to discover the special ingredient which gives the wine its distinctive taste,which will lead the couple to discover to their horror the Genovese's deep desire to drain the poor.
View on the film:
Despite the only version that I could find of the title being one that took some shine off the title, (thanks to it being an old fullscreen TV print)the screenplay by writer/director Riccardo Ghione still thankfully contains a vicious bite,with Ghione taking sleek satirical Black Comedy shot at the upper-class of Italy,with Ghione showing the Genovese's firm belief that the poor are dirt on their shoes and need to be drained of what little 'life' they have. Complimenting his swipe at the upper- class,Ghione shows the low-life's of society to be filthy hippies who cant see danger coming towards their peace & love blinded eyes.
Placing most of the movie in one location,Ghione gives the Genovese's Villa a charmingly off-beat feel by making each of their extreme wine making machines being ones that are wonderfully low-tech,which appear to have been borrowed from a cheap Sci-Fi film.Giving this very interesting Horror title an added dose of weirdness,Enzo Tarascio gives a wild performance,with Tarascio showing Antonio's love for his wife Nina, (played by the pretty Marina Malfatti-who had earlier teamed up with Tarascio for the Giallo The Night That Evelyn Came Out Of The Grave)to be so draining on him,that he will be prepared to drain the poor of their only valuable commodity,their blood.
The plot:
Driving round on the lookout for the 'lowlifes' of society,socialite Nina Genovese and her scientist husband Dr.Antonio Genovese spot a hippie couple looking for a hitch-hike. Generously giving the hippie couple the chance to sleep at their villa for the night,the couple are delighted to discover that the Genovese's are the leading wine makers of the town.
Thrilled at finding wine flowing from every part of the villa,the hippie couple begin to seriously wonder if they could ask the Genovese's if it would be OK if they could stay with them for a few days.Finding that the wine has an oddly unique 'kick',the couple decide to look round the villa to discover the special ingredient which gives the wine its distinctive taste,which will lead the couple to discover to their horror the Genovese's deep desire to drain the poor.
View on the film:
Despite the only version that I could find of the title being one that took some shine off the title, (thanks to it being an old fullscreen TV print)the screenplay by writer/director Riccardo Ghione still thankfully contains a vicious bite,with Ghione taking sleek satirical Black Comedy shot at the upper-class of Italy,with Ghione showing the Genovese's firm belief that the poor are dirt on their shoes and need to be drained of what little 'life' they have. Complimenting his swipe at the upper- class,Ghione shows the low-life's of society to be filthy hippies who cant see danger coming towards their peace & love blinded eyes.
Placing most of the movie in one location,Ghione gives the Genovese's Villa a charmingly off-beat feel by making each of their extreme wine making machines being ones that are wonderfully low-tech,which appear to have been borrowed from a cheap Sci-Fi film.Giving this very interesting Horror title an added dose of weirdness,Enzo Tarascio gives a wild performance,with Tarascio showing Antonio's love for his wife Nina, (played by the pretty Marina Malfatti-who had earlier teamed up with Tarascio for the Giallo The Night That Evelyn Came Out Of The Grave)to be so draining on him,that he will be prepared to drain the poor of their only valuable commodity,their blood.
Rather off-kilter but enjoyable psycho/thriller
kannibalcorpsegrinder23 November 2016
Having collected various strangers, a deranged and twisted family brings the group together in their home where it soon dawns on them how psychotic they are and must try to get away alive.
This one here was quite the enjoyable psycho-thriller. One of the more engaging parts of this one is the fact that there's quite a lengthy and prolonged first half that really does a great job at building a chilling and creepy atmosphere. The scenes of the group securing the different people, ranging from the different degenerates and hitchhikers in the various parts of town then bringing them back to their house under the guise of treating them well only to have the tables turned on them makes for a solid exploitation premise that features all the usual sleaze and nudity usually found there yet subtly instituting clues that something's not quite right along the way. From the couple's odd habits, finding the nude woman tied up in the bedroom and the psychedelic soundtrack playing over the orgy in the hall of mirrors, there's enough weirdness going on that it really makes for an appropriate set-up already so that once it turns around in the second half it's gradual induction of their strange machines kept hidden away really turns this one into quite the chilling effort. Once there, the raging thunderstorm and the reveal of their trap gives this a nice air that's magnified by the actual draining procedure conducted by the robot which is quite a surreal sight. There's quite a lot to really enjoy here with these elements, though there's a few minor problems with this one. The biggest issue is undoubtedly the confusing investigation going on alongside this one as it is so lazily shoehorned into the proceedings that it's quite obvious an afterthought by the short, quick-cut inserts they are placed into the film and interrupt the sleaze and exploitation in the remaining parts of the film. Likewise, this also tends to cause the film to stutter along with quite a rather plodding pace during this section and really keeps the film from unleashing it's full gimmick until quite late in here which is due to the rather unnecessary inclusion here. Otherwise, there's not much else really wrong here.
Rated Unrated/R: Full Nudity and drug use.
This one here was quite the enjoyable psycho-thriller. One of the more engaging parts of this one is the fact that there's quite a lengthy and prolonged first half that really does a great job at building a chilling and creepy atmosphere. The scenes of the group securing the different people, ranging from the different degenerates and hitchhikers in the various parts of town then bringing them back to their house under the guise of treating them well only to have the tables turned on them makes for a solid exploitation premise that features all the usual sleaze and nudity usually found there yet subtly instituting clues that something's not quite right along the way. From the couple's odd habits, finding the nude woman tied up in the bedroom and the psychedelic soundtrack playing over the orgy in the hall of mirrors, there's enough weirdness going on that it really makes for an appropriate set-up already so that once it turns around in the second half it's gradual induction of their strange machines kept hidden away really turns this one into quite the chilling effort. Once there, the raging thunderstorm and the reveal of their trap gives this a nice air that's magnified by the actual draining procedure conducted by the robot which is quite a surreal sight. There's quite a lot to really enjoy here with these elements, though there's a few minor problems with this one. The biggest issue is undoubtedly the confusing investigation going on alongside this one as it is so lazily shoehorned into the proceedings that it's quite obvious an afterthought by the short, quick-cut inserts they are placed into the film and interrupt the sleaze and exploitation in the remaining parts of the film. Likewise, this also tends to cause the film to stutter along with quite a rather plodding pace during this section and really keeps the film from unleashing it's full gimmick until quite late in here which is due to the rather unnecessary inclusion here. Otherwise, there's not much else really wrong here.
Rated Unrated/R: Full Nudity and drug use.
The lighter side of a very real '70s concern
melvelvit-117 August 2014
Riccardo Ghione's amusing and self-aware black comedy takes a rather wry look at a very real concern in the early 1970s-
Alvin Toffler's "Future Shock" was required reading on college campuses back in 1972 and the alarmist book "about the future and the shock that its arrival brings" was only a forerunner of the fears the "Me Decade" grappled with, especially on screen with nightmarish fare like WESTWORLD and DEATHRACE 2000. Two other 1973 cautionary tales, SOYLENT GREEN and TRAITMENT DE CHOC, also envisioned a cannibalistic future but THE BLOODSTAINED LAWN, the third in this futuristic triptych, goes "where no man has gone before" by making light of the rampant paranoia.
Amoral aristocrat Nina Genovese (Marina Malfatti, who looks a bit like Sharon Tate), her mad scientist husband (who looks a lot like Soupy Sales right down to the big bow ties), and the brother she's in love with bring a drunk, a hooker, a gypsy, and a pair of hippies back to their ultra-modern estate for some dope, orgies, and music but soon the guests disappear one by one to become the secret ingredient of a rejuvenating wine the depraved trio bottle and sell. Meanwhile, "special guest star" Nino Castelnuevo (Nino Newcastle??), he of CAMILLE 2000 fame, plays a UNESCO agent hot on their trail of blood...
Nina, dead serious about a superior race, makes good use of society's "disposables" in an increasingly over-populated world and insists to her love-struck brother that "only money brings happiness" as the decadent rich get yet another roasting, only this time on the lighter side and very well done. Director Ghione also has fun inverting "happy" clichés like lovers (in this case, the hippie couple) running in slo-mo over hill and dale (twice!) and the life-size "Robbie The Robot" gadget the villains use to extract their victim's lifeblood is more ridiculous than anything else. The hip-and-happening score is oh so "of its time" and the garish decade's flashy fashions and decor also serve the story well. It's (kind of) classy Eurotrash that doesn't take the doom-and-gloom predictions about the future too seriously and does for the wine industry what DEATH LAID AN EGG did for poultry farms.
Alvin Toffler's "Future Shock" was required reading on college campuses back in 1972 and the alarmist book "about the future and the shock that its arrival brings" was only a forerunner of the fears the "Me Decade" grappled with, especially on screen with nightmarish fare like WESTWORLD and DEATHRACE 2000. Two other 1973 cautionary tales, SOYLENT GREEN and TRAITMENT DE CHOC, also envisioned a cannibalistic future but THE BLOODSTAINED LAWN, the third in this futuristic triptych, goes "where no man has gone before" by making light of the rampant paranoia.
Amoral aristocrat Nina Genovese (Marina Malfatti, who looks a bit like Sharon Tate), her mad scientist husband (who looks a lot like Soupy Sales right down to the big bow ties), and the brother she's in love with bring a drunk, a hooker, a gypsy, and a pair of hippies back to their ultra-modern estate for some dope, orgies, and music but soon the guests disappear one by one to become the secret ingredient of a rejuvenating wine the depraved trio bottle and sell. Meanwhile, "special guest star" Nino Castelnuevo (Nino Newcastle??), he of CAMILLE 2000 fame, plays a UNESCO agent hot on their trail of blood...
Nina, dead serious about a superior race, makes good use of society's "disposables" in an increasingly over-populated world and insists to her love-struck brother that "only money brings happiness" as the decadent rich get yet another roasting, only this time on the lighter side and very well done. Director Ghione also has fun inverting "happy" clichés like lovers (in this case, the hippie couple) running in slo-mo over hill and dale (twice!) and the life-size "Robbie The Robot" gadget the villains use to extract their victim's lifeblood is more ridiculous than anything else. The hip-and-happening score is oh so "of its time" and the garish decade's flashy fashions and decor also serve the story well. It's (kind of) classy Eurotrash that doesn't take the doom-and-gloom predictions about the future too seriously and does for the wine industry what DEATH LAID AN EGG did for poultry farms.
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