Riccardo Freda
Riccardo Freda (24 February 1909 – 20 December 1999) was an Italian film director. He worked in a variety of genres, including sword-and-sandal, horror, giallo and spy films.[2][3]
Riccardo Freda | |
---|---|
Born | |
Died | 20 December 1999 90) | (aged
Spouse | Gianna Maria Canale |
Freda began directing I Vampiri in 1956.[4] The film became the first Italian sound horror film production.
Biography
Riccardo Freda was born in 1909 in Alexandria, Egypt to Italian parents.[2][5] Freda attended school in Milan where he took art classes at the Centro Sperimantale.[2] After school he took on work as a sculptor and art critic.[2]
Film career
Freda first began working in the film industry in 1937 and directed his first film Don Cesare di Bazan in 1942.[2] Freda began directing I Vampiri.[6][7][8] I Vampiri was the first Italian horror film of the sound era, following the lone silent horror film Il mostro di Frankenstein (1920)[9][10] Despite being the first, a wave of Italian horror productions did not follow until Mario Bava's film Black Sunday was released internationally.[9][11][12]
Filmography
Title | Year | Credited as | Notes | Ref(s) | |||
---|---|---|---|---|---|---|---|
Director | Writer | Editor | Other | ||||
Lasciate ogni speranza | 1937 | Yes | [13] | ||||
L'allegro cantante | 1938 | Yes | [13][14] | ||||
Fuochi d'artificio | Yes | [14] | |||||
La voce senza volto | 1939 | Yes | [14] | ||||
Piccoli naufraghi | Yes | Yes | Assistant director | [14][15] | |||
Il cavaliere di San Marco | Yes | [15] | |||||
In the Country Fell a Star | Yes | Yes | Collaborator to direction | [16][17] | |||
Fascino | 1940 | Yes | [16] | ||||
Il barone di Corbò | Yes | [16] | |||||
La granduchessa si diverte | Yes | [17] | |||||
Cento lettere d'amore | Yes | [17] | |||||
Lucky Night | 1941 | Yes | [17][18] | ||||
Caravaggio, il pittore maledetto | Yes | Yes | Collaboration to the making | [18] | |||
L'avventuriera del piano di sopra | Yesa | Yes | [18][19] | ||||
Don Cesare di Bazan | 1942 | Yes | Yes | Yes | Producer | [20] | |
L'abito nero da sposa | 1945 | Yes | [19] | ||||
Non canto più | Yes | Yes | [20] | ||||
Tutta la città canta | Yes | Yes | Yes | Story | [20] | ||
07... Tassì | Yes | Yes | [19] | ||||
The Black Eagle | 1946 | Yes | Yes | Yes | Story | [21] | |
Les Misérables | 1948 | Yes | Yes | [22] | |||
The Mysterious Rider | Yes | Yes | Yes | Story | [23] | ||
O caçula do barulho | 1949 | Yes | Yes | Yes | Story | [23][24] | |
The Iron Swordsman | Yes | Yes | [24] | ||||
Guarany | 1950 | Yes | Yes | Yes | Story | [24][25] | |
The Gay Swordsman | Yes | Yes | Yes | Story | [25] | ||
L'astuto barone | Yes | Yes | Short film | [26] | |||
Magia a prezzi modici | 1951 | Yes | Short film | [25][26] | |||
Double Cross | Yes | Yes | [26] | ||||
Tenori per forza | Yes | Yes | Short film | [26][27] | |||
Revenge of Black Eagle | Yes | Yes | Yes | Story | [27] | ||
See Naples and Die | 1952 | Yes | [27] | ||||
La Leggenda del Piave | Yes | Yes | [28] | ||||
Sins of Rome | 1953 | Yes | [28] | ||||
Theodora, Slave Empress | 1954 | Yes | Yes | Yes | Story, general manager | [29] | |
I mosaici di Ravenna | Yes | Yes | [30] | ||||
Da qui all'eredità | 1955 | Yes | Yes | [30] | |||
Beatrice Cenci | 1956 | Yes | Yes | Story | [30] | ||
I Vampiri | 1957 | Yes | Yes | Yes | Actor (Autopsy doctor) | [31] | |
Trapped in Tangiers | Yes | Yes | Yes | Story | [32] | ||
Sheba and the Gladiator | 1959 | Yes | 2nd unit director–battle scenes | [33] | |||
The White Warrior | Yes | Yes | Yes | [32] | |||
Caltiki – The Immortal Monster | Yes | Yes | [34] | ||||
The Giants of Thessaly | 1960 | Yes | Yes | [34][35] | |||
The Mongols | 1961 | Yes | Director–battle scenes | [33] | |||
Maciste alla corte del Gran Khan | Yes | [35] | |||||
Caccia all'uomo | Yes | [36] | |||||
Marco Polo | 1962 | Yes | Director–battle scenesc | [37] | |||
Alone Against Rome | Yes | Director–Arena sequences | [38] | ||||
Seven Seas to Calais | Yes | Editor–naval battle scened | [38][39] | ||||
The Witch's Curse | Yes | [40] | |||||
The Horrible Dr. Hichcock | Yes | [40][41] | |||||
The Seventh Sword | Yes | Yes | Yes | Story | [41] | ||
Gold for the Caesars | 1963 | Yes | 2nd unit directore | [39] | |||
The Ghost | Yes | Yes | [41][42] | ||||
The Magnificent Adventurer | Yes | Yes | Story | [42][43] | |||
Romeo e Giulietta | 1964 | Yes | Yes | [43] | |||
Genoveffa di Brabante | Yes | Yes | Yes | Story | [43][44] | ||
The Two Orphans | 1965 | Yes | Yes | [44] | |||
Coplan FX 18 casse tout | Yes | [44][45] | |||||
Trap for the Assassin | 1966 | Yes | Yes | [45] | |||
Mexican Slayride | 1967 | Yes | [46] | ||||
La morte non conta i dollari | Yes | [46][47] | |||||
Double Face | 1969 | Yes | Yes | [47] | |||
Tamar Wife of Er | 1970 | Yes | [48] | ||||
L'iguana dalla lingua di fuoco | 1971 | Yes | Yes | Yes | Yes | Story | [48][49] |
Tragic Ceremony | 1972 | Yes | [49] | ||||
Murder Obsession | 1981 | Yes | Yes | Yes | [50] | ||
Un tour de manège | 1989 | Yes | Actor (Riccardo the film director) | [51] | |||
Revenge of the Musketeers | 1994 | Yes | Based on "an idea by Freda and Éric Poindron | [51][52] | |||
Notes
- ^ a Freda has denied having taken part in writing the script for this film, despite being credited.[19]
- ^ b Freda was originally to direct the film but stated that he walked off the set on the first day of shooting.[33]
- ^ c Freda name is not in the credits but some sources state he directed several battles scenes in the film, which Freda denies.[33]
- ^ d Freda name is not in the credits but some sources state he edited the naval battle scenes in the film, which Freda denies.[38][39]
- ^ e Freda has claimed to have shot the entire film.[38][39]
References
- Curti 2017, p. 3.
- Erickson, Hal. "Riccardo Freda". AllMovie. Retrieved 20 April 2017.
- Paul 2005, p. 276.
- Jones, Alan (2013). I Vampiri (booklet). Arrow Films. p. 24. FCD756.
- Paul 2005, p. 274.
- Shipka 2011, p. 23.
- Curti 2015, p. 23.
- Curti 2015, p. 24.
- Gallant, Chris (23 April 2015). "10 Great Italian Gothic Horror Films". British Film Institute. Retrieved 30 July 2015.
- Curti 2015, p. 11.
- Curti 2015, p. 3.
- Curti 2015, p. 1.
- Curti 2017, p. 289.
- Curti 2017, p. 290.
- Curti 2017, p. 291.
- Curti 2017, p. 292.
- Curti 2017, p. 293.
- Curti 2017, p. 294.
- Curti 2017, p. 295.
- Curti 2017, p. 302.
- Curti 2017, p. 303.
- Curti 2017, p. 304.
- Curti 2017, p. 305.
- Curti 2017, p. 306.
- Curti 2017, p. 307.
- Curti 2017, p. 308.
- Curti 2017, p. 309.
- Curti 2017, p. 310.
- Curti 2017, p. 311.
- Curti 2017, p. 312.
- Curti 2017, p. 313.
- Curti 2017, p. 314.
- Curti 2017, p. 296.
- Curti 2017, p. 315.
- Curti 2017, p. 316.
- Curti 2017, p. 317.
- Curti 2017, p. 297.
- Curti 2017, p. 298.
- Curti 2017, p. 299.
- Curti 2017, p. 318.
- Curti 2017, p. 319.
- Curti 2017, p. 320.
- Curti 2017, p. 321.
- Curti 2017, p. 322.
- Curti 2017, p. 323.
- Curti 2017, p. 324.
- Curti 2017, p. 325.
- Curti 2017, p. 326.
- Curti 2017, p. 327.
- Curti 2017, p. 328.
- Curti 2017, p. 300.
- Curti 2017, p. 301.