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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 »
A woman, a survivor of a failed murder attempt by a person dubbed "The Half-Moon Killer" by the police, and her husband must find the connecting thread between herself, six other women, and... See full summary »
Pier Paolo Capponi
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A woman searches for her missing lover, a psychiatrist who has suddenly vanished for no apparent reason. She ends up at a villa populated by a group of eccentric individuals. A string of murders commence immediately.
A young woman is invited by her girlfriend, who lives in an English country mansion, to stay there with her. The estate, however, isn't quite what it seems--and neither is the friend who issued the invitation.
José Ramón Larraz
After the death of her daughter, Julia Lofting, a wealthy housewife, moves to London to re-start her life. All seems well until she is haunted by the sadness of losing her own child and the ghosts of other children.
A wealthy, fatherless British clan kidnaps bums and hippies and forces them to participate in an elaborate role-playing game in which they are the perfect family; those who refuse or attempt escape are ritualistically murdered.
Sexually perverse, but not necessarily sexy, Italian giallo
Although sex was an important element in Italian gialli, its importance is sometimes overstated. In the 1970's, not only gialli but even the staid Hammer films in England were injecting gratuitous full-frontal nudity into their movies in order to compete with the hardcore porno that had taken over low-budget cinema in much of continental Europe. In addition, since collectors and DVD buyers today always demand "uncut" versions of these films, the prints sometimes contain near-hardcore footage that was not in the original film but was only put in as "inserts" to sell them in more liberal territories (i.e. the scenes of an obvious body double for Rosalba Neri pleasuring herself in "Slaughter Hotel"). This movie, made late in the gialli cycle, is somewhat unusual therefore in that the sex is not just commercial and gratuitous, but is an essential part of the plot.
The movie starts with a scene (missing from some prints) of a young man (John Phillip-Law)raping and murdering a woman on a train. Later he rents a room from an elderly wheelchair-bound voyeur (Fernando Rey) and his much younger "wife" (Olga Bisneros). The elderly man enjoys watching the younger man through the a hole in the wall where he has set up a periscope-like device. There is something decidedly homoerotic about this. The first thing he sees, for instance, is the younger man get forcibly raped by a big black guy he has picked up at a cheesy disco (where a German-looking extra takes all her clothes off to a wretched disco beat). Then he sends his "wife" over to seduce the young man, and its eventually revealed the true nature of the couple's relationship and how he came to be in the wheelchair. And if the main plot isn't sleazy enough there's also a subplot involving the chauffeur who, when he isn't collecting the wife's pubic hair from the drain in her bathtub, is talking a naive teenage girl (Monica "Emanuelle and the Last Cannibals" Zanchi) into giving him oral favors.
Obviously, this movie is quite a collection of psychopathia sexualis (people like Freud and Reich would have loved it). Which is not to say it is necessarily very sexy (unless impotence, voyeurism, rape, gay interracial rape, pubic-hair fetishes, wife-swapping, child abuse, incest, and bad disco music really turn you on). But there is something fascinating about the sheer wretched excess of perversity on display here. The only thing I could compare it to is the (obviously much better) David Cronenberg movie "Crash" which also takes sexuality beyond titillation into a pathologically perverse and almost alien realm.
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