All the Colors of the Dark

came out.

When you look at something like All the Colors of the Dark by Sergio Martino, it would have been a very small group of people who saw that in distribution in the U.S. during its first run, probably at a really seedy grindhouse theater, so like...

Your mom probably didn't see that movie when it came out.

It's mostly, you know, city teenagers and guys in trench coats.

I'm Craig Johnson, and this week we are covering two suitably autumnal films, both of which share a memorable filming location at Bishop's Park in London, and both of which explore themes of Satanism in the UK's capital city.

First up, we are back with director Sergio Martino and actors Edwidge Fenech, George Hilton and Ivan Razumov for All the Colours of the Dark from 1972.

Then we stay in the 1970s for one of the biggest horror blockbusters of all time, which is, at the time of recording, also celebrating its 50th anniversary.

This is The Omen from director Richard Donner, starring Gregory Peck, Lee Remick, David Warner, Patrick Troughton and Billy Whitelaw.

Along the way, we'll be discussing the lives and careers of George Hilton and Ivan Razumov, why the whiskey brand J&B became ubiquitous with the Jallo, outrageous satanic panic around the first TV screening of The Omen in the UK, the career of actor Gregory Peck and much, much more.

But before we do any of that, I'd just like to mention the main sources that I've used in researching this week's episode, and all references used will be listed or linked in the show notes.

So, when talking about All the Colours of the Dark, I have referred to interviews and extras on the Blu-ray release of the film from Shameless Entertainment, and the books House of Psychotic Women by Kiela Janis, La Dolce Morte by Mikkel J. Koven, Italian Giallo in Film and Television by Roberto Curti, and So Deadly, So Perverse by Troy Howarth.

I've also referred to interviews and And when discussing The Omen, I have heavily referenced the book The Omen by Adrian Schober, which is part of the Devil's Advocate series of books from Liverpool University Press.

There's less of that concern.

You know, I know, like, London is depicted in later films, so I wouldn't say, you know, the London of All the Colors of the Dark is the same as the London of, you know, like Deadly Sweet.

Oh, no, definitely not.

There's definitely a shift at that point.

Um, as well as Loy and Martino productions, Furia a Marrakech and Flashman and Vengeance is Mine.

By the time he edited Deborah, he'd done about 20 films, and he'd worked on For a Few Dollars More and The Good, the Bad and the Ugly for Leone, as well as Faccia a faccia for Sollima.

Alabaso would go on to work on about a dozen or so of the most well-loved films in the genre, so So Sweet, So Perverse, Strange Vice of Mrs. Wardh, The Fourth Victim, The Case of the Scorpion's Tail, Fifth Cord, Seven Bloodstained Orchids, All the Colors of the Dark, Torso, Case of the Bloody Iris.

So he really had a solid CV there.