Oliviero is a burned-out writer, living at his estate near Venice, his dead mother dominating his imagination. He is also a degenerate: sleeps with his maid and his ex-student, hosts ... See full summary »
A teacher who is having an affair with one of his students takes her out on a boat. They see a knife killing on shore. Other gruesome murders start occurring shortly thereafter, and the ... See full summary »
Small time crook Napoleone falls into an unlikely gang made up of a gangster, called The Baron, and his two cohorts, Agonia and The Captain, where Napoleone takes them to Rome where they ... See full summary »
Edward G. Robinson
A Canadian archaeological team in Sicily accidentally unleashes vengeful ghosts of five demonic nuns whom were murdered 500 years earlier and the ghosts now set out to kill the group and townspeople alike.
Robert Miles is a psychic that can communicate with the dead. He also has the ability to control the mind of his cat (who incidentally is black). He uses the cat to take vengeance upon his ... See full summary »
Florinda Bolkan plays the daughter of a prominant English politician who keeps having recurring "nightmares" in which she makes love to a bisexual nympho who lives downstairs and conducts all-night LSD orgies. When the nocturnal wet dreams become murderous, the neighbor turns up dead, and Florinda is the main suspect. Did she actually commit the murder she dreamt about? Is she being framed by her philandering husband? Did Florinda actually make nightly visits downstairs aside from borrowing the occasional cup of sugar? How DID Florinda's letter opener end up stuck in the dead neighbor's chest anyway? The complex plot unfolds amidst red herrings, outlandish dream sequences, lesbian hanky panky, and ominous close-ups of Florinda Bolkan's guilt-ridden facial expressions every time someone mentions the murder. All this takes place in swinging late-1960's London. Written by
Mike Justice <Fergus21@hotmail.com>
The scene in which Carol encounters the disemboweled dogs in the clinic became quite controversial because of the startlingly realistic (and graphic) appearance of the fake prop dogs. Director Lucio Fulci was nearly sent to prison because it was believed that the dogs were real and Fulci had allowed animal cruelty on the film. However crew members were able to testify in court that the "dogs" were indeed fake and no animals had ever been harmed. Special effects artist Carlo Rambaldi even presented the dog props in court to convince the jury. This was the first time that an effects artist had to testify in court that their work was fake. See more »
In the opening train sequence, one of the extras looks at the camera for a few seconds. See more »
Even though Lucio Fulci's name is usually uttered in the same breath as those of Mario Bava and Dario Argento in "who's the best Italian horror director?" discussions, he's just as likely to be dismissed as an incompetent hack that couldn't direct traffic. "A Lizard in a Woman's Skin", like the rest of his gialli efforts from the 70's is solid proof of the opposite. Unlike other genre efforts that leave the viewer baffled with ludicrous plot twists and impossible endings, "Lizard...", convoluted as it may be, ranks among the most solid crime mysteries the Italian scene produced.
Of course that doesn't mean the final 20 minutes aren't bound to give you a headache as the plot unfolds its myriad twists and turns. Every character is a suspect. In turns Carrol, her husband, two hippies, Carrol's step daughter and her father. Yet all the loose ends are tied very neatly in the end. Beautifully staged gore, great cinematography and hot European babes shedding their clothes are other genre staples and "Lizard.." doesn't dissappoint, even though it's gore-lite. It certainly doesn't live up to Fulci's rep (a rep not entirely representative of his vast work, spanning many different genres from westerns to crime action and comedies), but I have no problem when the overall quality is so good. Coupled with a languid jazzy score by the maestro, Ennio Morricone, solid performances, intriguing set pieces and delirious dream sequences, Fulci here weaves a beautiful tappestry that will leave no fan of bizarre Italo-horror disappointed. And if anything, it just goes to prove that Fulci was a great director, even if his post New York Ripper catalogue may suggest the opposite.
Apart from the final 20 minutes, where the labyrinthine plot unfolds through remarkable detective work, the first sequence is great. It's Carrol's dream. She's pushing her way through a narrow (train?) corridor full of people, in slo mo, with an anguished look on her face. Suddenly the corridor is full of naked people (also known as hippies). Then she's falling into the void with darkness surrounding her. She lands on a lavish velvet bed, dressed in a grey fur, and makes out with the gorgeous Annita Strindberg. I haven't been thrown off so much by an opening scene since Martino's "The Strange Vice of Mrs. Wardh" (another great sleazy psychedelic opening). The rest of the dream scenes, including the murder, are all dizzying and off-beat.
Overall, this is a must see for giallo fans, Fulci fans that want to discover his other side and all the nay sayers. If possible, try and find the uncut Italian version. It might be full-screen but you get 5 minutes of additional gore and nudity.
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