In what seems like news from a completely different dimension, a musical version of Dario Argento’s classic 1975 thriller Profondo Rosso (known to US fans as Deep Red) was recently performed in Italy. Although this isn’t exactly current news as the musical’s performance ceased in March, Cinevox recently released the soundtrack CD.
I found out about the musical a few months back and just didn’t understand how the film could be transformed onto the stage, and honestly I still don’t. Argento and the Italian movie market are a source of pride for the country, so in comparison to our Broadway versions of Billy Joel songs and Disney films, in a way it kind of makes sense. The reviews seem to be glowing, and many of the film’s infamous scenes are said to have been included; there’s still the windup dummy, the head still gets decapitated (somehow) by the car at the end, and even the bizarre mirror tricks of the movie have been incorporated.
Satan Hates You director, James Felix McKenney dropped a dime yesterday to hit me with a press release. The long in production Christsploitation flick, Satan Hates You wrapped principal photography in New York on Tuesday and the movie is in post-production now.
Satan Hates You boasts a pretty impressive cast including Don Wood (TV’s COLONIAL HOUSE, IN A FIX) and Christine Spencer (AUTOMATONS) and also includes Angus Scrimm (PHANTASM, TV’s ALIAS), Reggie Bannister (PHANTASM, BUBBA HO-TEP), Michael Berryman (ONE FLEW OVER THE CUKOO’S NEST, THE HILLS HAVE EYES), Debbie Rochon (TROMEO AND JULIET, TERROR FIRMER) and Producer Larry Fessenden (HABIT, THE BRAVE ONE) with appearances by Pauley Perrette (TV’s NCIS, ALMOST FAMOUS), John Levene (TV’s DOCTOR WHO) and author Max Brooks (WORLD WAR Z, THE ZOMBIE SURVIVAL GUIDE).
“This film is significantly larger than anything we’ve done before. With a huge cast and multiple locations around New York, Los Angeles and even Hell itself, I went into this shoot fearing I bit off more than I could chew. But our incredible cast and amazing crew made getting this ambitions project in the can a breeze.” says McKenney. “It was almost too easy.”
SATAN HATES YOU is McKenney’s fourth feature film, following the critically acclaimed AUTOMATONS. The film is produced by Larry Fessenden’s company Glass Eye Pix, along with director McKenney’s MonsterPants movies, Lisa Wisely and Jeremiah Kipp. Eric Branco is the Director of Photography.
Says Fessenden, “It is always very special to team up with the Monsterpants gang. They make films the way I like it: seat of the pants resourceful, lotta heart, lotta love on set. That’s what Glass Eye has always been about and collaborating with McKenney keeps us honest. As for Satan Hates You, I think the title says it all.”
So keep an eye out. Satan Hates You is looking for an early release in 2009. Keep up with the latest on this project at the Satan Hates You website.
If you’re not already following Eric Powell’s absolutely awesome horror comic, The Goon, I’m going to suggest that you stop reading this right now and head out to your local comic shop/big-box book store that carries trade paperbacks and buy a couple of collections. Seriously. Right now. I’ll be here when you get back.
Back? Did you find everything okay? Take some time to familiarize yourself with the books. Awesome. In the event that you couldn’t make it out and buy a couple of comics, I’ll sum it up for you. The Goon is a pulpy crime comic about a brutish ogre of a man and his wiry, spastic buddy with a big mouth. Together they run skid row and fight back zombies, Lovecraftian monsters and other assorted horror devices.
It’s a very, very funny comic. Fans of Hellboy will really appreciate it. One such Goon fan is director David Fincher and according to Eric Powell’s website, Fincher has optioned The Goon to be an animated feature with work done by award-winning Blur Studio. It looks as though Fincher will be taking on producer duties and a director will be chosen at a later date. Whether or not this actually goes through is up in the air, though. Fincher has a bit of a history with this sort of project. Seems like years ago he optioned Arthur C. Clarke’s sci-fi classic, Rendezvous With Rama to be an animated feature and that never happened.
It has been a while since we have been graced with a full-bore trash opus from Lloyd Kaufman, and Poultrygeist proves beyond all doubt that the wait was well worth it. All of the classic Troma trademarks are present here: gratuitous frontal nudity, over the top gore, and politically incorrect humor that is guaranteed to offend almost everybody. Troma deals in classic exploitation cinema of the most raunchy variety and with Poultrygeist, Lloyd Kaufman and company are at the top of their game.
The plot is appropriately ludicrous. Protagonist Arby is an aimless, bespectacled youth who begins the film with a “romantic” evening with his girlfriend Wendy in the Tromahawk Indian Burial Ground. After some “quality time” during which the young lovers are felt up by horny cadavers, a promise is made: although Wendy is leaving for college, the two will remain together forever. Of course, as is typically the case with these kind of promises, things do not go as planned. We move forward a year. The Indian Burial Ground is being bulldozed to make way for a new location for a national fast food chain, the American Chicken Bunker. Arby arrives to meet his love only to find out that in her college years she has become a lesbian. Wendy is protesting the erection of this new fast-food monstrosity along with her new girlfriend and a veritable army of angry, Starbucks-sipping lesbians.
Mandy, Mandy, Mandy, when are they going to release you theatrically? I mean, here in the United States? Seems you were a victim of last year’s ‘Great Grindhouse Flop of Ought Seven’. The failure of Grindhouse put the fear of god in Hollywood money men everywhere for some reason and because of that, the brakes were put on a lot of genre movies because according to the people playing the game in Hollywood, the numbers don’t lie. Because no one saw Grindhouse, logically no one would see All The Boys Love Mandy Lane. I mean, that makes sense. Right? RIGHT?
Of course it doesn’t. Don’t be ridiculous. There’s a lot of positive press floating around about Mandy Lane right now and I think somewhere in my viewing of the way-delayed movie, I missed some important element that made the whole thing click and live up to the claims that this is the best horror movie in years. People are likening it to Scream and making all these egregious statements about the effect that it is going to have on the direction that horror takes over the next ten years. Take it from me. It’s just a slasher movie. A particularly predictable slasher movie. A slasher so heavily laden with slasher cliches that it almost seems deliberate.
During those dusty bygone days of the now-defunct Video Home System, purchasing films for your personal collection was a very costly venture. Unless the distributor had chosen to issue their product as “priced to sell,” the going rate for almost any movie on the market was simply outrageous. Spending close to one-hundred dollars on any film seems positively preposterous in this pirate-friendly digital age — I honestly can’t remember the last time I paid more than twenty-five bones for anything I didn’t have to order from a genre-specific website or some opportunistic yokel on eBay hording a tasty collection of ultra-rare VHS tapes.
The price tag printed on the box art for director Carl Monson’s 1987 Frank Stallone-Christopher Mitchum revenge actioner Death Feud (aka Savage Harbor) would suggest madness on the part of the consumer. The damage: $79.95, though this item is priced slightly higher in Canada. And while I don’t necessarily regret dropping two wonderful little dollars on this undeniably hilarious motion picture, there were moments when I truly wished I’d spent my money on a fresh avocado, instead. In fact, I’d love to hear from anyone who actually shelled out that much cash on such a dumpy, amateur hour production such as this. I promise I won’t poke fun.
Before he was the Terminator (1984), before he fought the Predator (1987), and even before he was Pumping Iron (1977), Arnold Schwarzenegger starred in his first movie, the low budget crap fest Hercules in New York (aka Hercules Goes Bananas, Hercules: The Movie, 1970). Calling it a crap fest so callously does do it some injustice as it is a hell of a lot of fun to watch.
The film begins on Mount Olympus, as Hercules whines to his father Zeus that he wants to have adventures with the mortals below. Zeus gets annoyed with Hercules’ discontent and launches him to Earth by blasting him with a lightning bolt which hurdles him off the mountain. After scaring old women on an airplane, Hercules lands on a naval ship and somehow gets enlisted. He then promptly throws another fit, beating up the entire crew as it docks in New York City. There in New York, Hercules befriends a schlub of a pretzel vendor named, aptly, Pretzie (played by veteran character actor Arnold Stang). Pretzie persuades Hercules to become a professional wrestler to pay for their hotel bill, and then the two start to get muscled by the mafia. All the while, hilarity is ensuing.
Here we are out here in New Hampshire, fighting like hell to get two great movies shown and out there in Indiana (where all the cool kids live) they’re doing a three day fucking marathon of 50 flicks! I’ll have what they’re having. They must eat their wheaties! If you’re in the area and you’re reading this blog, this is probably something you’re going to be interested in.
Aside from showing the following movies: Shogun Assassin, Death Race 2000, The Beast From 20,000 Fathoms, Galaxy of Terror, Psycho and Abbot & Costello Meet Frankenstein just to name a few they’re also holding the The World’s Largest Beach Party with surf rock band, The Moon-Rays. There will be guests like Tom Savini and Jim Wynorski and a lifetime achievement award will be given to one of my favorite directors, Stuart Gordon.
I am way over the Saw series of movies. I haven’t seen any of them past Saw 2. Personally, I’m not so much turned off by the sadism as I am the fact that it takes them less than a year to produce and market a sequel and that pretty much since the inception of the series, there has been a sequel each year. It just seems careless to me.
Though I understand that the sequels are maturing a bit and the story is taking on an interesting degree of continuity. Maybe at some point I’ll bite the bullet and revisit this series. I will give them this, though: Their posters are always really cool. The head on the scale for Saw 4 was pretty neat but this one is even cooler. Click on the image for a closer look.
It’s never entirely clear what’s going on in Attackazoids but New Jersey filmmaker, Brian Lonano, is on to something. I’ve never been one to gush about Ray Harryhausen or stop motion animation but I’m occasionally caught off guard when I see a low budget production put it to good use. One of the reasons I like Charles Band and Full Moon so much is because they never shied away from it. The Puppet Master series, which I love, is predicated on the entire technique but those were made before CGI was even an option. Lonano could have opted for CGI, but he didn’t and his menacing Attackazoids benefit from that.
Attackazoids is a 7 minute short film about a woman running from an army of murderous bipedal robots that cleave some people in half and roast the other half with their death rays. Where they came from? I have no idea. I also can’t begin to explain why the woman has such ridiculous blue eyes. While the bots kill everything that moves, their loudspeakers assure everyone that everything is fine, everything is under control. It’s fantastic!
Drop by Brian’s website for the trailer and more information. He’s definitely someone to keep an eye on. I can’t imagine what he’d do with a whole feature.
I’m really not entirely sure what’s going on here but here are three names that should make you excited: Joss Whedon, Nathan Fillion and Neil Patrick Harris.
As far as I know, it’s a web-based series of shorts that looks alarmingly similar to the plot of Soon I WIll Be Invincible. Neil Patrick Harris plays some kind of super-science villain and Nathan Fillion is his superhero rival. Looks fucking awesome.
I heard some people out there really liked Rob Zombie’s remake of the immortal John Carpenter slasher classic. That’s between them and god, I guess, but while they wait for their chance to chat with their maker about their poor taste in movies, they can get comfortable, pop some popcorn and flood their senses with the upcoming Dimension Extreme release of Rob Zombie’s Halloween. Yes, I know that it ihas been out on DVD for a while but did you know that Dimension Extreme’s release weighs in at 3 god damn discs? Details about what’s actually on those discs are hard to come by but according to Fangoria, this upcoming release will obviously feature the movie but a four and a half hour making of documentary. You read that right. Stroke that ego, Rob. Stroke it long and slowly. I’m expecting a documentary about a man obsessed with his own vision, wasting his and the public’s time to be something akin to Heart of Darkness, the documentary about the troubled Apocalypse Now shoot, but I imagine that it’s going to be extended screen tests of William Forsythe spitting out nasty slurs and different takes of Ken Foree shouting “I’m Joe Grizzly!” while sitting on the can.
Whenever I start to feel like I’ve been watching a lot of badass, hardcore movies for the benefit of this site, I like to take the edge off with something down-low stupid. A real low maintenance feature that I can coast on. It’s like hitting Six Flags and pounding rollercoasters all day. You hit this point where you feel like you’re going to pass out because those coasters are fucking raw and abundant in the confines of the park. The only way to keep the energy level going is to slow it down and ride the kiddie rides because if you hit that Nightwing ride one more time, that seven dollar burger is coming back up, smeared across your face, stuck in your hair and probably all over the person behind you on the Superman coaster. Got it? Good.
When I was 3 or 4 I used to stick it out through The Incredible Hulk and hide behind the sofa whenever Bill Bixby started to Hulk out because it scared the shit out of me. But the fear was worth it because after The Hulk ended The Dukes of Hazzard began and I loved that show! Because of that, I’ve had a burning need to own a Mopar, preferably a Charger. ‘69. Black. But I’d settle for an alpine white 1970 Challenger, if you know what I mean. What I’m getting at is that I really dug the Duke Boys but what I didn’t know was that the show was actually based on a wave of hillbilly hicksploitation movies that kicked off in the mid-70’s and more or less crested with either Convoy or Smokey and the Bandit, depending on who you ask. Moonrunners, in particular, serves as the template that The Dukes of Hazzard followed even though the show was way kid friendly and sanded down the sharp edges that made light of nasty motherfuckers like The Dixie Mafia. All the while, Waylon Jennings still spends a good deal of the movie narrating the action with all manner of down-home colloquialisms. Bottom line, Moonrunners represents the top of the heap. Ten minutes doesn’t go by before someone gets a guitar smashed over their head. Awesome.
I seem to get a lot of people asking me when this movie was supposed to come out and my usual answer was, “I don’t fucking know! Stop asking me!” But now I can stop being an asshole and commit to this. My Name Is Bruce is finally getting a theatrical run according to Shock Til You Drop, who got the goods from Dark Horse Comics’ Mike Richardson (also a producer on this film) said:
“Some people maybe thought the film fell out or that there was something wrong with it,” Richardson says, touching on Bruce’s slow journey getting before wide audiences. It was roughly a year ago that it screened to CineVegas film fest attendees. “We did our shoot, put it in the can and the studio that financed it liked it so much they gave us more money to do a second shoot. We beefed it up so it could go into the theaters.”
So there you go. Reshoots have delayed the release, but it sounds like they’re the good kind of reshoots, so don’t despair. Early reports were that the movie, about a town besieged by real monsters kidnaps the real Bruce Campbell thinking that he has the right stuff to fight them because he was in Evil Dead. Hijinx ensue, lots of innocent people die. Sounds like a lot of fun.
You can expect it to hit theaters this October. Also, keep your eyes open, Richardson says that a sequel, titled My Name Is Still Bruce is already in the works.
I’ve been trying to play it cool about remakes but the recent mention of the Plan 9 From Outer Space remake and now this, The Day The Earth Stood Still is being remade with Keanu Reeves. I’m going to take the high road and not bag on Keanu as it is sometimes fashionable to do because, quite frankly, I think he took enough of that shit back when The Matrix and its shameful sequels came out.
No, my beef is with Hollywood and its hangup on genre remakes. They piss and moan about sagging ticket sales and put so much time and money into fighting piracy but they’re still not giving people much reason to actually make a night of it and go out to see their movies. You know what? I’ve seen The Day The Earth Stood Still and I’ll tell you what, I love it. It’s a hamfisted fable about Cold War America, atomic weapons and a robot in a steel diaper. A very large part of its charm is the setting and the circumstances. Back in 1951, there was a lot of saber rattling from both sides of the Iron Curtain. That’s not really happening these days so how do you take a story like The Day The Earth Stood Still and make it something relevant that is more than just a special effects heavy alien invasion movie?
I’ll tell you how, given current Hollywood standards. You don’t. Click on the image for a better look at the poster.
I have real mixed feelings about Rob Zombie as a filmmaker. I absolutely hated the Halloween remake in spite of my wishy washy review and I’m willing to cut House of 1,000 Corpses a little slack because it was his first feature coming off a string of director spots on music videos, but I shouldn’t have liked The Devil’s Rejects as much as I did. He definitely seems to have a style and when he’s doing just that, that is Last House on the Left style mayhem starring a cast of characters seemingly abducted from the parking lot of a Lynyrd Skynyrd show back in 1975, co-starring the questionable acting chops of his wife, but it seems to click. So who knows? Maybe Tyrannosaurus Rex will be something I can appreciate. The poster, at left, already tells you a lot:
Starring Bill Moseley, Sherri Moon Zombie and Ken Foree
I must admit, even though it looks like the cover of a Chaos published comic book, I like it quite a bit. The 51% Motherfucker line tickles me. Has a real Frank Frazetta feel to it. The artist credits actually go to Alex Horley. Expect Tyrnnosaurus Rex in theaters August 28, 2009.
Did you expect anything else? Click the poster for a better look.
Do you listen to podcasts? You really ought to. I’ve pointed you guys to a couple in the past but thanks again to Boing Boing, a blog that really has no business on Cinema Suicide, I’ve found another great resource. This time around it’s Tank Riot, the podcast of Viktor, Sputnik and Tor, three dudes broadcasting out of “Tropical Wisconsin”. While the podcast isn’t strictly relevant to this site, sometimes about condspiracy theory, The Simpsons, Sid & Marty Kroft, etc. they occasionally, through cheesehead accents as amusing as our regional New England dialect, discuss Cinema Suicide appropriate topics such as Godzilla, Roger Corman and my personal favorite of the lot, a discussion about Twilight Zone mastermind, Rod Serling. These guys know a lot about what they’re talking about and the discussions shed a lot of light on the backgrounds on the people or movies that they’re discussing.
These are some seriously top-notch podcasts and you’d be doing yourselves a huge favor by checking them out. Since I find myself locked to a desk all day, it’s nice to have a podcast like this to listen to while I code. It’s like eavesdropping on a conversation between three guys at a comic/sci-fi store. Big ups to the Tank Riot crew.
One of the big draws to Italian Cinema is their use of atmosphere, using lush, clever, well composed soundtracks as a foundation for their images. Italy has produced a long list of brilliant composers throughout the years, and one of the most renowned and respected is Rome’s Fabio Frizzi. Fabio began his career working with famous Italian composers Franco Bixio and Vince Tempera, and went on to infamy scoring the soundtracks to Lucio Fulci’s most loved works. Cinema Suicide writer Tim Fife corresponded with Frizzi to learn about the history and the future of one of Italy’s most loved composers.
Fabio Frizzi was born in 1952 in Bologna, Italy, and grew up listening to Bach, the Baroque, and the Beatles. “I have been lucky,” Frizzi recalls, “I have loved music since I was a baby and had the chance to begin early. At 14 I had my first band, a quartet, and then many others until I was 19 playing Beatles, Rolling Stones, Mamas & The Papas, Crosby, Stills… today we’d call them “cover bands”, but we played with maniacal care on arrangements.” While his father pressed for him to attend college and become a lawyer, Fabio shopped himself around different publishing offices around Rome.
We’ve been talking about doing this for a few months now and we’re finally ready to roll it out.
As well as being fans of great horror/exploitation/cult movies, a few of us here are also fans of the music that accompanies those movies. To such an extent that we wanted to include that content here but not necessarily in the flow of the movies page. To accomodate, I created a sister site. Soundtrack Apocalisse, primarily the vehicle for Cinema S regular, Tim Fife, will follow the C Suicide formula but with a musical slant. You’ll get all the news, reviews and interviews that you could possibly want. Tim kicks the series off right with an interview with legendary Italian composer and frequent Lucio Fulci collaborator, Fabio Frizzi!
In what seems like news from a completely different dimension, a musical version of Dario Argento’s classic 1975 thriller Profondo Rosso (known to US fans as Deep Red) was recently performed in Italy. Although this isn’t exactly current news as the musical’s performance ceased in March, Cinevox recently released the soundtrack CD.
Satan Hates You director, James Felix McKenney dropped a dime yesterday to hit me with a press release. The long in production Christsploitation flick, Satan Hates You wrapped principal photography in New York on Tuesday and the movie is in post-production now.
If you’re not already following Eric Powell’s absolutely awesome horror comic, The Goon, I’m going to suggest that you stop reading this right now and head out to your local comic shop/big-box book store that carries trade paperbacks and buy a couple of collections. Seriously. Right now. I’ll be here when you get back.
Mandy, Mandy, Mandy, when are they going to release you theatrically? I mean, here in the United States? Seems you were a victim of last year’s ‘Great Grindhouse Flop of Ought Seven’. The failure of Grindhouse put the fear of god in Hollywood money men everywhere for some reason and because of that, the brakes were put on a lot of genre movies because according to the people playing the game in Hollywood, the numbers don’t lie. Because no one saw Grindhouse, logically no one would see All The Boys Love Mandy Lane. I mean, that makes sense. Right? RIGHT?
During those dusty bygone days of the now-defunct Video Home System, purchasing films for your personal collection was a very costly venture. Unless the distributor had chosen to issue their product as “priced to sell,” the going rate for almost any movie on the market was simply outrageous. Spending close to one-hundred dollars on any film seems positively preposterous in this pirate-friendly digital age — I honestly can’t remember the last time I paid more than twenty-five bones for anything I didn’t have to order from a genre-specific website or some opportunistic yokel on eBay hording a tasty collection of ultra-rare VHS tapes.
Before he was the Terminator (1984), before he fought the Predator (1987), and even before he was Pumping Iron (1977), Arnold Schwarzenegger starred in his first movie, the low budget crap fest Hercules in New York (aka Hercules Goes Bananas, Hercules: The Movie, 1970). Calling it a crap fest so callously does do it some injustice as it is a hell of a lot of fun to watch.
Here we are out here in New Hampshire, fighting like hell to get two great movies shown and out there in Indiana (where all the cool kids live) they’re doing a three day fucking marathon of 50 flicks! I’ll have what they’re having. They must eat their wheaties! If you’re in the area and you’re reading this blog, this is probably something you’re going to be interested in.
It’s never entirely clear what’s going on in Attackazoids but New Jersey filmmaker, Brian Lonano, is on to something. I’ve never been one to gush about Ray Harryhausen or stop motion animation but I’m occasionally caught off guard when I see a low budget production put it to good use. One of the reasons I like Charles Band and Full Moon so much is because they never shied away from it. The Puppet Master series, which I love, is predicated on the entire technique but those were made before CGI was even an option. Lonano could have opted for CGI, but he didn’t and his menacing Attackazoids benefit from that.
I heard some people out there really liked Rob Zombie’s remake of the immortal John Carpenter slasher classic. That’s between them and god, I guess, but while they wait for their chance to chat with their maker about their poor taste in movies, they can get comfortable, pop some popcorn and flood their senses with the upcoming Dimension Extreme release of Rob Zombie’s Halloween. Yes, I know that it ihas been out on DVD for a while but did you know that Dimension Extreme’s release weighs in at 3 god damn discs? Details about what’s actually on those discs are hard to come by but according to Fangoria, this upcoming release will obviously feature the movie but a four and a half hour making of documentary. You read that right. Stroke that ego, Rob. Stroke it long and slowly. I’m expecting a documentary about a man obsessed with his own vision, wasting his and the public’s time to be something akin to Heart of Darkness, the documentary about the troubled Apocalypse Now shoot, but I imagine that it’s going to be extended screen tests of William Forsythe spitting out nasty slurs and different takes of Ken Foree shouting “I’m Joe Grizzly!” while sitting on the can.
Whenever I start to feel like I’ve been watching a lot of badass, hardcore movies for the benefit of this site, I like to take the edge off with something down-low stupid. A real low maintenance feature that I can coast on. It’s like hitting Six Flags and pounding rollercoasters all day. You hit this point where you feel like you’re going to pass out because those coasters are fucking raw and abundant in the confines of the park. The only way to keep the energy level going is to slow it down and ride the kiddie rides because if you hit that Nightwing ride one more time, that seven dollar burger is coming back up, smeared across your face, stuck in your hair and probably all over the person behind you on the Superman coaster. Got it? Good.
I seem to get a lot of people asking me when this movie was supposed to come out and my usual answer was, “I don’t fucking know! Stop asking me!” But now I can stop being an asshole and commit to this. My Name Is Bruce is finally getting a theatrical run according to 
Do you listen to podcasts? You really ought to. I’ve pointed you guys to a couple in the past but thanks again to Boing Boing, a blog that really has no business on Cinema Suicide, I’ve found another great resource. This time around it’s Tank Riot, the podcast of Viktor, Sputnik and Tor, three dudes broadcasting out of “Tropical Wisconsin”. While the podcast isn’t strictly relevant to this site, sometimes about condspiracy theory, The Simpsons, Sid & Marty Kroft, etc. they occasionally, through cheesehead accents as amusing as our regional New England dialect, discuss Cinema Suicide appropriate topics such as 
One of the big draws to Italian Cinema is their use of atmosphere, using lush, clever, well composed soundtracks as a foundation for their images. Italy has produced a long list of brilliant composers throughout the years, and one of the most renowned and respected is Rome’s Fabio Frizzi. Fabio began his career working with famous Italian composers Franco Bixio and Vince Tempera, and went on to infamy scoring the soundtracks to Lucio Fulci’s most loved works. Cinema Suicide writer Tim Fife corresponded with Frizzi to learn about the history and the future of one of Italy’s most loved composers.