An Ideal Place to Kill (a.k.a. Oasis of Fear, Dirty PicturesTwo) is a 1971 cult film by Umberto Lenzi. young, sexually-free hippies, Dick (Ray Lovelock) and Ingrid (Ornella Muti) finance their travels by selling naked snaps of Ingrid until their plan is brought to an abrupt end by the Police. Forced on the run the two seek refuge at a seemingly empty isolated large villa. As it turns out the house is inhabited by the middle-aged Barbara (Irene Papas) who invites them in for some potential three-way hanky-panky that soon locks them into something far more twisted and chilling! Set to a toe-tapping catchy pop score and filled with deliciously naked female flesh this is also an intriguingly dreamy giallo from the underrated Lenzi that chills into a suspense-ridden climax. –amazon
Umberto Lenzi (born August 6, 1931), is an Italian film director who was very active in low budget crime films, peplums, spaghetti westerns, war movies, cannibal films and giallo murder mysteries (in addition to writing many of the screenplays himself).
Lenzi was born in Massa Marittima, Grosseto, southern Tuscany. He is the writer/director of two highly controversial exploitation films: Mangiati vivi (1980) and Cannibal Ferox (1981) as well as the director of the film adaptation of the Italian comic book Kriminal (1966). He was one of the first Italian directors to get involved in the Giallo film craze (along with Mario Bava and Dario Argento), and his “Man From Deep River” is credited as being the film that started the Italian “cannibal film” genre later popularized by Ruggero Deodato, Jess Franco and others. Lenzi has claimed in interviews however that he was never too enamored of the cannibal films he made, being much prouder of his war films and crime/ western/ action movies… read more
The bouncy, goofy 60s pop music acts as a totally inappropriate foil for the sex-and-pornography trade that the always-enthusiastic young couple engage in. Lenzi seems to be suggesting that Classical art is really just porn for the upper class. This observation and the effective ending notwithstanding, I'm not sure I can really take the film too seriously, wallowing as it does in titillation for titillation's sake.