Grazie, zia (1968)

User Rating:

6.0/10   

Director:

Salvatore Samperi

Writers:

Salvatore Samperi (story)
Salvatore Samperi (writer) ...

Release Date:

1968 (France)

Genre:

Comedy | Drama

Plot:

Young Alvise's body is paralyzed, or at least he thinks so. He is infatuated by his beautiful aunt Lea. What starts as innocent therapy and care soon develops into strange erotic and psychological battle between them. |

Plot Keywords:

Therapy | Erotica | Female Nudity | Aunt Nephew Relationship | Incestuous Desire

Awards:

1 win

Cast

Lisa Gastoni	...	Aunt Lea
Lou Castel	...	Alvise
Gabriele Ferzetti	...	Stefano
Luisa De Santis	...	Nicoletta - the singer
Massimo Sarchielli	...	Massimo
Nicoletta Rizzi	...	The Secretary of Alvise's father
Anita Dreyer	...	Barbara

Also Known As:

Come Play with Me
Thank You Aunt

Runtime:

94 min

Country:

Italy

Language:

Italian

Color:

Black and White

Sound Mix:

Mono

Certification:

USA:M | Argentina:16

Filming Locations:

Padua, Veneto, Italy

Company:

Doria Film

GRAZIE, ZIA (Salvatore Samperi, 1968) **1/2

Samperi's directorial debut is also the first film of his I've watched and it seems that his other films - culminating in MALIZIA (1973), which made an international star of Laura Antonelli - are more or less along the same art-house erotica lines with the added benefit of having, at least initially, a decent array of international performers appearing in them. Italian cinema of the 1960s and 1970s yielded several obscure gems and, while this is certainly not one of its shining examples, it is intriguing enough to warrant at least one viewing.

Leading man Lou Castel, repeating his brooding, handicapped hero act from Marco Bellocchio's FIST IN HIS POCKET (1965), is an ungrateful, mischievous, wheelchair-bound teenager who is hopelessly infatuated with his sensual aunt Lisa Gastoni, much to the chagrin of her journalist fiancée Gabriele Ferzetti. The three actors acquit themselves well enough under the circumstances given that the material is rather too thin (and, in hindsight, rather pretentious and not terribly compelling either) to sustain even a moderately long film such as this one. Still, the film's depiction of the tragic downward spiral their lives take once the two relatives give in to their baser instincts makes for some powerful if mildly titillating footage. The ubiquitous Ennio Morricone contributes yet another typically quirky and effective score which, given the film's adult theme, ironically relies much on children's vocals.