Last Stop on the Night Train

Film: Last Stop on the Night Train (L’ultimo treno della notte)

Year: 1975

Director: Aldo Lado

Writer: Renato Izzo and Aldo Lado

Starring: Flavio Bucci, Macha Méril and Gianfranco De Grassi

Review:

This is a film that I sought out since it is an Italian re-imaging of the Virgin Spring and its more brutal version of The Last House on the Left. I know I saw this years ago when I picked it up on DVD. It is one that I decided to revisit for a Voyage through the FiVes. I made it the last rewatch for Italian Horror Month since at the time of this episode, December is approaching.

Synopsis: two young women take the overnight train from Munich to Italy for Christmas. Unfortunately, a pair of psychotic hoodlums and an equally demented nymphomaniac woman terrorize the pair.

This film begins in a city’s outdoor market. We meet two thugs who are mugging people, Blackie (Flavio Bucci) and Curly (Gianfranco De Grassi). What is interesting here is that it makes for an interesting juxtaposition of them moving around, doing bad things and not contributing while we’re given tranquil music of people shopping for Christmas.

We meet our two college students from the synopsis. Through them we realize that this film begins in Germany. One of them is from here, Margaret Hollenbach (Irene Miracle) and the other is the Italian girl, Lisa Stradi (Laura D’Angelo). They’re taking a train to Italy to spend Christmas with Lisa’s family.

It then takes us to her to meet her parents. Her father is a doctor, Prof. Giulio Stradi (Enrico Maria Salerno). He is performing surgery and teaching students what to do. His wife is a homemaker now that her daughter is away at school. Her name is Laura (Marina Berti). She speaks to Margaret's mother who relays that the two are taking the night train. She also relays about an ugly tie that Lisa bought for her father and the scarf she bought for herself. They’re taken to the station by Margert’s parents.

At the station, we see Blackie and Curly attack a rich woman. The police chase after them and they sneak on the train before it leaves. This also happens to be the train that our two young women got aboard. Also on it is a woman played by Macha Méril. She is sitting in a car full of people and they’re discussing different topics. There is a man who is staring at her. Things get awkward when her purse falls. The contents spill out, including a pornographic picture. She immediately cleans up, not wanting help.

It is here that the ladies see if there’s room for them to sit. The train is full though. They’re being a bit lewd in topics of conversation, drawing attention from other passengers. The two hoodlums end up in their car, trying to stay ahead of the ticket checker. They help out by hiding them in the bathroom, where Lisa has Margaret’s ticket and she answers from the bathroom.

Things all change when the lady from the train goes into the bathroom. Blackie follows her in. She demands he leaves, but he touches and puts his hand up her dress. They end up having sex in the bathroom. This is where we truly know that she’s a nymphomaniac. The women then see that these two are no good when they attack a conductor.

The train stops and is checked. Everyone on board needs to stay on, show their passports and have their tickets ready. Margaret and Lisa convince one of the guards that they need to call Lisa’s parents to let them know about the delay. They also learn of a train leaving soon that is a direct one to their end location. What they don’t realize though, the trio of the hoodlums and the nympho also get off. They get on the same train and it turns into a nightmare that none of them will ever forget.

That is where I’ll leave my recap and introduction to the characters. Where I want to start is by saying that this is a nasty, mean-spirited film. It hits many of the same beats that you get from Last House just setting it on a train instead of the woods. I’ll give them credit for that, especially with something that I’ll bring up later about peer pressure and what we’ll do if we don’t think we’ll get caught. This is one that doesn’t show a lot directly, but the implications make this a tough watch.

Now that I have that set up, let me delve a bit into the two main women who are the targets. This film shares common elements with Last House. Lisa's mother describes her as a "wild child," expressing concern she will get into trouble. The girls entertain the two thugs, feeding the men's need for attention, though this doesn't justify the subsequent events. Miracle and D’Angelo deserve credit for portraying the torment they endure.

An interesting change to this version is our villains. We at first see the common hoodlums of Blackie and Curly. For the most part, they might inflict pain and steal from you. It isn’t until they’re confined to this train and having the cover that comes with this one being loosely populated that it creates major issues. Goaded on by the lady, who is a sexual deviant, she gives them the push to do horrific things. There then becomes the fear of not getting in trouble and covering up the crime. Credit to Bucci, Méril and De Grassi.

There is then something else to bring up here and that is the horrible look at humanity. Blackie, Curly, and the woman trap the two women in a train car. A voyeur, played by Franco Fabrizi, watches from outside but joins in instead of helping. His despicable actions suggest a commentary on exploiting others without consequence and the appeal of becoming a target or getting caught up in the moment, though he later finds some redemption.

Revenge, mirroring Last House or Virgin Spring, is a key theme. The three villains coincidentally return to the Stradis, realize their guests were responsible, and seek vengeance. While logical, the impact is lessened by the execution. The film offers class commentary: a middle-class woman manipulates the low-class, drug-addicted criminals, highlighting moral depravity. An interesting change is that they had a happenstance meeting, which creates an interesting dynamic when consequences arise.

Something else that I wanted to also bring up is that a dinner party with the Stradis, the idea of society creating violence. I do like this concept, especially since Giulio offers an interesting suggestion, but that is challenged by a guest. This also leads to the bleak and nihilistic view of the world, presented from the framework of the idea.

That should be enough for the story. Let’s discuss the acting performances. Bucci and De Grassi are effective as the aimless hoodlums, exploited by the clever Méril, whose ending is intriguing. Salerno and Berti portray the vengeful parents well. Miracle and D’Angelo deserve credit in showing their fear and trauma. Fabrizi, Dalila Di Lazzaro, and the rest of the cast are solid in moving the main characters to their conclusion.

All that is left then is filmmaking aspects. I appreciate the train's confining atmosphere; it contains the story and prevents easy escape. The timing of the train's arrival is an important plot device. The effects are subtle. While the blood is a little bright (which I like), the 'dummy deaths' are amusing. The soundtrack by Ennio Morricone, from Once Upon a Time in the West, is used effectively, though it's likely a paid-for track. This is well-made in general, including the cinematography and framing.

In conclusion, this is a brutal and mean-spirited Italian take on the Virgin Spring and The Last House on the Left premise, effectively relocating the horror to the claustrophobic setting of an overnight train. The film, though nasty without relying on gore, is elevated by strong performances, especially from villains Bucci, Méril, and De Grassi, and protagonists Miracle and D’Angelo. Aldo Lado's solid direction and the Morricone score enhance the successful exploration of class commentary, moral depravity, and nihilism. While the revenge plot is well-crafted, the film remains a difficult watch.

My Rating: 7.5 out of 10