5.7/10
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A doppia faccia (1969)

A millionaire is unwittingly led into murder by his lesbian wife.

Director:

(as Robert Hampton)

Writers:

(screenplay) (as Robert Hampton), (story) | 4 more credits »
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Mobsters conspire to loot another criminal's treasure secured in an enormous booby-trapped vault.

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Cast

Complete credited cast:
...
...
Christine
Günther Stoll ...
Inspector Stevens
...
Liz
...
Mr. Brown
Barbara Nelli ...
Alice
...
Helen Brown / Helen Alexander
Rest of cast listed alphabetically:
...
(hardcore inserts - French 1976 version)
Ignazio Dolce
Carlo Marcolino ...
Servant
Gastone Pescucci ...
Peter
Luciano Spadoni ...
Inspector Gordon
Claudio Trionfi
Edit

Storyline

A millionaire is unwittingly led into murder by his lesbian wife.

Plot Summary | Add Synopsis

Genres:

Thriller

Certificate:

See all certifications »
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Details

Country:

|

Language:

Release Date:

26 July 1969 (Italy)  »

Also Known As:

Puzzle of Horrors  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

In the title credits of the German Version, Riccardo Freda is credited as "Richard Freda", making the Director's first name sounding more German as Freda wasn't very well known in West Germany. See more »

Connections

Edited from Der Mann mit dem Glasauge (1969) See more »

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User Reviews

Freda Goes Wild, Kinski Plays It Cool
29 January 2003 | by (Edinburgh, Scotland) – See all my reviews

I fell in love with this movie from its first frame. Or, at any rate, the first BOOM-BANG-CRASH-WALLOP of its fabulously over-the-top piano soundtrack

  • as if Liberace were stationed just off camera, with blazing gold
candelabra and rhinestone-studded Steinway grand. Its visuals are, if possible, lusher than its score. Crystal vases weep rose petals over the photo of a murdered woman. Venetian glass mirrors reflect the elegantly chiselled face of Klaus Kinski - glowering at us seductively over a polka-dotted silk cravat.

If you are used to Kinski hamming it up in a Herzog epic, his role here is a revelation. As a London millionaire who may or may not have murdered his lesbian wife, he is so subtle and ambiguous, so - dare I say it? - restrained that he keeps us guessing right up until the last few seconds. Seeing her 'come back to life' in a porno film (shot after her death) Kinski's face takes on a haunted look that outdoes all his raving, eye-rolling and tooth-gnashing in more famous roles.

Proof, if proof were needed, that director Riccardo Freda was not just a great unsung visual stylist, but a maestro of mood and suspense. Imagine a Chabrol or Hitchcock with the eye of a Renaissance painter, and you come close to the splendours of this film. So exquisite in its visual detail that its minor flaws - i.e. blatantly fake model car wrecks; continuity howlers such as Kinski walking bareheaded through Soho, then sitting in a nightclub with his hat on - simply evaporate before our eyes.

Oh, and I even like the tacky Italian pop ballad that keeps recurring as a 'clue' - to oddly chilling effect. So perhaps I'm just a sucker for this type of film.

David Melville


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