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So Sweet, So Dead (1972)
"Rivelazioni di un maniaco sessuale al capo della squadra mobile" (original title)

X  |   |  Crime, Drama, Horror  |  July 1975 (USA)
5.9
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Ratings: 5.9/10 from 340 users  
Reviews: 13 user | 17 critic

A serial killer is on the loose. His victims are unfaithful wives and he always leaves compromising photographs at the crime scene.

Writers:

(screenplay), (story), 3 more credits »
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Edit

Cast

Cast overview, first billed only:
...
Inspector Capuana
...
Barbara Capuana
Silvano Tranquilli ...
Paolo Santangeli
Annabella Incontrera ...
Franca Santangeli
Chris Avram ...
Professor Casali
Femi Benussi ...
Serena
Krista Nell ...
Renata
Angela Covello ...
Bettina Santangeli
Fabrizio Moresco ...
Piero
Andrea Scotti
Irene Pollmer ...
Giannina
Luciano Rossi ...
Gastone
Ivano Staccioli ...
The Liar
Nino Foti
...
Rossella
Edit

Storyline

Inspector Capuana investigates serial murders where the victims of unfaithful wives were get killed as they were having sex with their husbands. A naked woman is found murdered and mutilated in a prosperous small province town in Southern Italy. But who is murdering her? After a while, the killer who wears black fedora, gloves, and trench coat starts photographing unfaithful wives as they start having sex with their lovers and also killing them. Written by c9rm9n

Plot Summary | Plot Synopsis

Taglines:

One day you'll get closer to the violence of death... but THIS IS AS FAR AS WE DARE TAKE YOU... with any hope of bringing you back! See more »


Certificate:

X | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

July 1975 (USA)  »

Also Known As:

Bad Girls  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

A re-edited version released in the U.S. was called "Penetration", and featured hardcore porno footage with adult-film stars Harry Reems and Tina Russell. It was advertised as a porno featuring actor Farley Granger, who was in the original film but had nothing to do with the re-edited version. Granger threatened the distributors with a major lawsuit for the unauthorized use of his name in the new version, and they subsequently withdrew the film from US distribution, but not from Europe. See more »

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User Reviews

Not good, but somewhat misunderstood, giallo
31 October 2004 | by (Denver, Colorado and Santiago, Chile) – See all my reviews

The rap on this giallo is that it is especially moralistic and misogynistic; however,I found the first charge to be untrue and the other greatly exaggerated. A crazed killer is murdering unfaithful wives and leaving photographic evidence of their dalliances next to the bodies. This certainly SEEMS pretty moralistic. But the betrayed husbands don't come off any more sympathetically than the wives. Many knew about their wives' infidelities and/or were playing around themselves (one husband of a murder victim is himself having an affair with another murder victim). Moreover, the killer doesn't turn out to be motivated by vengeance. He is killing these women because he can get away with it, because their high society husbands will thwart the investigation of the beleaguered inspector(Farley Granger) at every turn lest they themselves be publicly exposed as cuckolds! This kind of deep cynicism is typical of later period gialli and Italian poliziani films, but there's nothing especially moralistic about it. Viewed in this way, even the final actions of the detective, which are certainly appalling and take away the only remaining likable and sympathetic character in the movie, are clearly more a final act of despairing cynicism than of righteous anger.

As for the misogyny charge, the raison d'etre of this movie seems to be to show a lot of attractive European actresses (Silva Koscina, Femi Benussi, Annabella Incontrerra, Nieves Navarro, Krista Nell) in various states of undress, and the filmmakers don't seem to care too much whether these women are alive, dead, or dying at the time. The movie lacks the flair, the garish delerium, and the stylized violence of better gialli, but it's not really all that different in it's attitude toward women--they're a decorative canvas for a painting of depravity and brutality. But just because the painting isn't very good doesn't make this film any more or less morally reprehensible than other gialli. In fact, the only really sympathetic character in the whole movie is the college-age daughter (Angela Covello) of one of the murder victims, who hilariously admonishes her boyfriend's "bourgeois politics" while he fumbles with the buttons on her blouse. The incompetent filmmakers, however, inexplicably drop this potential heroine halfway through. An appealing female protagonist would have done a lot to mitigate the lingering misogyny, but here this movie once again suffers from its own incompetence.


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