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Plot: hapless gardener is seduced by a mother and her underage daughter

Not all Gloria Guida comedies are created equal. Just like Fernando di Leo’s Blue Jeans (1975) before it That Malicious Age is another of these rather bland melodramatic and slightly tragic coming-of-age commedia sexy all’italiana exercises that are part and parcel in Guida’s early-to-mid seventies repertoire. Like any of the titles preceding it That Malicious Age has a proclivity towards melodrama but that doesn’t stop it from featuring more than a copious amount of Guida in advanced state of undress and a handful of risqué situations that it could easily classify as a regular soft erotic romp. Is it one of Gloria Guida’s best outings? That’s entirely dependent entirely on what you come to these things for. What it does feature is enough Gloria Guida in the buff to satisfy anyone’s cravings.

Silvio Amadio was crazy about Gloria Guida. Perfectly understandable given how lovely la Guida was one of the prime Lolitas of the commedia sexy all’italiana. No, Amadio wasn’t just crazy about her. He was obsessed with her. He had filmed glorious Gloria earlier in the not entirely creatively stunted The Underage Girl (1974) and would do so again in So Young, So Lovely, So Vicious (1975). Unfortunately Guida didn’t reciprocitate his amorous feelings and Amadio descended into a self-destructive tailspin as a result. Gloria - whose shapely derrière was made a legend in its own right by Mario Imperoli’s Monika (1974) and Blue Jeans (1975) - was in a relationship with famed showman/crooner Johnny Dorelli and no on-set fling with a celebrated director was worth that risk. However Guida’s claim to cinematic immortality was to come in the form of Michele Massimo Tarantini’s La Liceale (1975) (released in North America as The Teasers) with Giuseppe Pambieri and a few years down the line with Fernando di Leo’s irreverent, subtextual and widely misunderstood satire To Be Twenty (1978) where la Guida was in company of fellow Lolita Lilli Carati, genre veteran Vittorio Caprioli and the late, great Ray Lovelock.

At behest of his high-strung (off-screen and uncredited) wife out-of-work painter Napoleone “Nino” Castellano (Nino Castelnuovo) takes up a gardening job at a summer mansion in the municipality of Portoferraio on the Mediterranean island of Elba on the Tuscan Archipelago. En route to the job interview Nino makes his acquaintance on a crowded bus with a stunning blue-eyed blonde who immediately starts flirting with him. Once at his destination he awkwardly bumbles his way through the job interview with the family matriarch (Anita Sanders), a bored socialite housewife, who instantly makes advances towards him. It is then that Nino finds out that the attractive girl he met on the bus earlier is his employer’s daughter Paola (Gloria Guida). Paola lives with her mother and absent stepfather and writer Adolfo (Andrea Aureli). As Nino settles into his new surroundings and starts to work around the house he is alternately pushed into compromising positions by the mother as well as the daughter. As the dance of seduction from mother and daughter alike intensifies things take a turn for the tragic for Nino when Paola spurs the advances of a Spanish fisherman (Mimmo Palmara) living in a nearby shack.

That Malicious Age is, of course, a tour de force for everybody’s favorite soon-to-be schoolgirl Gloria Guida. While rather demure compared to some of her other work That Malicious Age sees Anita Sanders in the habit of undressing in front of Nino for no particular reason. It has Guida’s Paola doing a sultry striptease in front of the window and her conveniently leaving the door to her room open whenever she undresses. A particularly suggestive scene has Paola giving Nino an implied footjob when the two of them are driving back from Portoferraio with the company of Paola’s blissfully unaware parents in the back. That Malicious Age concludes with its most memorable scene that sees Paola running around completely naked in Calenzano pinewoods. Since no Gloria Guida comedy or melodrama is complete without its share of tragedy her nude scene is a prelude to the movie’s downbeat conclusion. The entire thing is pervaded by tragedy as it truly is about the sheer dysfunctionality of the bourgeoisie. Nino finds himself martyred (his Christ pose when Paola falls into his arms drives the point home well enough) and ousted from the community after coming to nubile Paola’s rescue towards the very end.

The cast for That Malicious Age is an assortment of young new stars and respected elders in supporting roles. Nino Castelnuovo was a regular in comedy, drama and romance al through the sixties and seventies. His many credits include, among others, The Umbrellas Of Cherbourg (1964), Strip Nude For Your Killer (1975), La Collegiale (1975), Star Odyssey (1979), and The English Patient (1996). Anita Sanders was a former Swedish model of no visible talent that would retire from acting after That Malicious Age. Mimmo Palmara was a monument of the Golden Age of Italian cinema and a pillar in the peplum and spaghetti western genres. Palmera made appearances in, among many others, the Pietro Francisci pulp sword-and-sandal epic The Labors Of Hercules (1958) and its amiable sequel Hercules Unchained (1959), The Trojan Horse (1961), the Eurospy-fumetti curiosity Argoman, the Fantastic Superman (1967) and The Arena (1974).

Andrea Aureli was another monument of the Golden Age of Italian cinema and a regular in peplum, spaghetti western and poliziotteschi. His credits include diverse offerings as Paprika (1991), Adam and Eve Meet the Cannibals (1983), Lady Frankenstein (1971), Samoa, Queen of the Jungle (1968) and The Last Of the Vikings (1961). The most famous among the crew was director of photography Antonio Maccoppi who was a frequent collaborator of Amadio and lend his talents to Killer Nun (1979), Our Lady Of Lust (1972), So Young, So Lovely, So Vicious (1975), Nude For Satan (1974), The Underage Girl (1974), Secret Confessions in a Cloistered Convent (1972) and School of Erotic Enjoyment (1971) where Malisa Longo's breasts deserved a credit of their own.

Gloria Guida might not have been the cream of the crop of the commedia sexy all’Italiana as far as acting talent was concerned but her presence illuminated whatever production she found herself in. That Malicious Age isn’t especially funny or sizzling sexy although it never fails to find creative or far-fetched excuses to have Guida undress or lose articles of clothing. Nino Castelnuovo is an amiable leading man and his interactions with Anita Sanders and Gloria Guida are what make That Malicious Age work. It never aspires to the same creative heights as The Underage Girl (1974) and seems content to dwell in the same general sphere as Mario Imperoli’s Monika (1974) and Blue Jeans (1975). There are enough shots of la Guida’s legendary derrière and the third act introduction of Paola’s boyfriend Franco (Mario Garriba) is too little too late to be of any meaning. The Mimmo Palmara subplot feels like an afterthought and the bittersweet conclusion only seems there to have the expected level of tragedy that apparently no Gloria Guida comedy is complete without. It’s competent and enjoyable enough, but Guida had yet to manifest actual acting talent in Fernando di Leo’s To Be Twenty (1978).

Of all the classic Florida death metal bands Monstrosity for some reason never quite rose to the level of prominence and visibility as their peers in Cannibal Corpse, Deicide, Malevolent Creation, Morbid Angel, and Obituary. Up until 2007 Monstrosity was a reliable second-tier with a healthy work ethic and a respectable measure of quality even though they weren’t as prolific in terms of releases as some of their more popular contemporaries. 2007’s “Spiritual Apocalypse” heralded a new era for Monstrosity and rejuvenated their robust death metal with a progressive, more melodic slant and drastically improved production values. In 2012 the live DVD “Live Apocalypse” was released to little fanfare and even littler press. Then… nothing happened. For 11 years the world waited with bated breath for Monstrosity to finally claim their rightful place among the celebrated elite in the genre’s hallowed upper echelons. Except nothing really happened outside of the surfacing of the occassional rehearsal video. Then suddenly “The Passage Of Existence” was announced. Apparently forever relegated to second-tier status Monstrosity once again proves that they’re still better than everyone else.

“The Passage Of Existence” is a refinement of the more progressive direction that “Spiritual Apocalypse” introduced and it largely consists of the same musicians. The closest equal to “The Passage Of Existence” is Death’s landmark epic “Symbolic”. Indeed. In the 11 year layoff in between albums Lee Harrison and his companions have honed, fine-tuned and perfected their assault from the ground up. “The Passage Of Existence” sounds unmistakably like Monstrosity only do they now sound as highly stylized, deliberately paced, and as melodic and neoclassical as they have ever been. It might not be as outright percussive as, say, “Imperial Doom” or “Millennium” but it combines the technical showmanship of “Rise to Power” with the subtlely progressive – and more melodic inclinations from “Spiritual Apocalypse”. “The Passage Of Existence” reveals its intricacies in playing and composition gradually. It banks far more on control, precision and restraint than it does on engrossing the listener on initial discovery. In other words, it is a grower of an album that reveals a multitude of details and layers only on repeated listens. As heavy as Morbid Angel sounded on “Kingdoms Disdained” Monstrosity has actually eclipsed them years ago in terms of songwriting and performance. It’s almost criminal how underappreciated Monstrosity still is even after nearly 30 years.

Carried over from “Spiritual Apocalypse” are frontman Mike Hrubovcak (who will have a second release out in 2018 with Hypoxia’s second offering “Abhorrent Decimation” on Ultimate Massacre Productions), bass guitarist Mike Poggione, lead guitarist duo Mark English (who also figured into the surprisingly decent “Overtures Of Blasphemy” from Deicide) and relatively-new Matt Barnes and founder/drummer Lee Harrison. Spanning 12 tracks and about an hour’s worth of music some of the material for “The Passage Of Existence” was written as early as 2009 and others were premiered as bare-bones rehearsal videos in 2013 (‘Solar Vacuum’, ‘Dark Matter Invocation’). Where “The Passage Of Existence” bears the most similarities to Death’s “Symbolic” is that the pace is far lower than in the past, there’s an advanced sense of melodicism that runs through out and all the songs are elegantly constructed compositions with extended sections of neoclassical soloing and some of the best drumming one is likely to hear. The spirit and mentality of Chuck Schuldiner was never more present than it is on here. Hopefully “The Passage Of Existence” will herald a new era of productivity and visibility for Monstrosity, whose modest body of work should speak for itself by now. “The Passage Of Existence” is erroneously dubbed a comeback by some less discerning critics but that couldn’t be further from the truth. Monstrosity might have been existing on the periphery in the decade-plus since “Spiritual Apocalypse” but they always remained active.

While “The Passage Of Existence” is consistently strong through out and there aren’t any notable lapses in quality it does lack something in way of a signature song. In fact “The Passage Of Existence” is so stylistically consistent that it’s sometimes hard to tell where one song ends and another one begins. There’s so much happening in each and every song that it’s sometimes hard to keep track of. Everybody gets their moment in the limelight, whether it’s Lee Harrison’s always versatile and acrobatic drumming, Mike Poggione’s flowing funky bass licks that support the guitars as much as they solo on their own or the exquisite leads and beautifully laid-out solos from Mark English and Matt Barnes. Mike Hrubovcak is pretty much himself and his vocals haven’t changed much from the bygone times of “The Burning Passion” from his erstwhile unit Divine Rapture. The fantastic artwork from Timbul Cahyono of bvllmetalart is in line with past efforts and reminiscent of Atheist's "Elements". It probably is the most accomplished art Monstrosity has had to date. The production is similar to that from “Spiritual Apocalypse” except that it is far cleaner sounding. Overall it combines the weight of “In Dark Purity” with the clarity of “Rise to Power”.

Morbid Angel’s fall from grace and subsequent restoration has been much publicized. Deicide has been existing a state of quiet resignation (or stagnation, if you prefer) for longer than that they’ve been relevant to the genre they helped define. Malevolent Creation has been courageously soldiering on regardless of how unfavorable the circumstances in which they find themselves and the lesser said about Obituary’s post-reunion albums the better. Always a silent force in the once-potent Florida death metal scene “The Passage Of Existence” might just be the strongest offering Monstrosity has yet conjured forth. It possesses a zeal and a sense of purpose that a lot of the more seasoned acts lack. Monstrosity never took anything for granted and “The Passage Of Existence” is testament to that. It might not be as immediate and straightforward as some of fans might have wished or wanted but that doesn’t stop it from being an amazing achievement on its own. We can only hope that it doesn’t take another 11 years to write, produce and record a follow-up to this formidable genre exercise that puts many of the band’s peers and competitors to shame. The Horror Infinity looms as strong as ever…