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La strega in amore (1966)

 -  Horror | Mystery  -  August 1969 (USA)
6.4
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Ratings: 6.4/10 from 120 users  
Reviews: 10 user | 8 critic

A historian goes to a castle library to translate some ancient erotic literature. While there he discovers what he believes to be supernatural forces at work.

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Title: La strega in amore (1966)

La strega in amore (1966) on IMDb 6.4/10

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Cast

Cast overview:
...
Sergio Logan
...
Aura
...
Fabrizio
Sarah Ferrati ...
Consuelo Lorente
Margherita Guzzinati ...
Lorna
Vittorio Venturoli ...
Marco Romani
Ivan Rassimov ...
Il bibliotecario
Ester Carloni
Giovanni Ivan Scratuglia
Elisabetta Wilding
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Storyline

A historian goes to a castle library to translate some ancient erotic literature. While there he discovers what he believes to be supernatural forces at work.

Plot Summary | Add Synopsis

Genres:

Horror | Mystery

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

August 1969 (USA)  »

Also Known As:

Aura  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Westrex Sound System)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Both Luis Buñuel and Carlos Saura had considered making a film out of the novel "Aura" by Carlos Fuentes. Fuentes wasn't too happy with this version and declared that either Buñuel or Saura would have done a much better job. See more »

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User Reviews

 
A triumph of sensuous pretensions
7 May 2004 | by (Montreal) – See all my reviews

This is an absolute masterpiece of extravagant, sensuous Continental 60s art cinema, and provides an "incendiary" Gothic femme fatale to rival the Hayworths and Gardners of film noir. Nominally a horror film (which only becomes completely apparent during the last reel), it actually fits nicely into that 60s subgenre of manipulative mind games and metaphysical character duality, not unlike Losey's "The Servant" (though it's closer in execution to his elegiac "Eva"). Although it's constantly threatening to unravel under the stress of its own pretensions (as was the fate of many international art films of the time), Damiani is firmly in control as he continues to up the ante with a bacchanalia of outrageously stylish devices, visual metaphors and tactile atmospherics. Schiaffino is one of those classic beauties who seemed to fall out of Italian poplar trees at the time, Johnson is suitably arrogant in his machismo, and the exotic flute-and-bongo score is a retro dream driving the erotic game-playing. Many will find its excesses over-the-top or campy, and it's startlingly misogynist at times, but for those tuned in to the excesses of the 60s, this is a mindbending treat right up to the astonishing but fitting conclusion. (As a footnote, it's now plain that Bertolucci's "Last Tango" was not the first to play the make-love-without-touching game.) If you enjoyed this one, try to find the obscure "Death on the Four Poster", which plays with similar themes on a much more transparent, but enjoyable, level.


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