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. —IMDb
Though more often than not working on a strict budget and a short time line, Lucio Fulci ranked among the masters of blood-soaked Italian horror/fantasies and sexy thrillers. Fulci’s zombie films, beginning with Zombi 2 (1979), a loose sequel of George Romero’s Dawn of the Dead (1978), are especially prized by genre aficionados for their shocking violence and graphic gore.
According to Fulci, it was the love of a woman, not a passion for cinema, that led him into filmmaking. He met her while studying medicine and working as a part-time art critic. Their affair was brief for she came from a wealthy family who lost their fortune after the war, and so wanted a man with more income. Following the breakup, Fulci spied a newspaper ad announcing the reopening of the Experimental Film Studios. Thinking a filmmaking career might provide him with an impressive income, Fulci decided to apply. The great director Luchino Visconti, impressed by Fulci’s examination, personally admitted the… read more
I passionately feel that “Lizard in a Woman's Skin” is the greatest Giallo film ever made. This film is the embodiment of the stylized Giallo films. The film incorporates psychological thriller, murder, mystery and sex. I’m dumbfounded when someone states that this movie or masterpiece is a horror film. Or, compare Giallo to horror genre. I think, Giallo gave birth to the America’s slasher films and they develop into the current horror movies.
Less in its head than Argento's efforts - lesbianism as a cheap, unchallenged signifier for insanity yet again - but its stylistic verve is impossible to deny. Great, surreal stuff in here with the dogs and the swan and the Bacon-lite camera effects and the big-ass red velvet bed. Too bad it's as reactionary as your grandma clutching her pearls, but what can you do?
Easily my favorite Fulci (and one of my top 5 giallo films). Superior cast and soundtrack plus weird passages of dream logic that rival the best (the stuff on the train, the use of the Francis Bacon-esque paintings, that weirdo menacing swan with its missing guts, etc.). Also all of Fulci’s best flourishes as a director (including those disorienting, extreme-foreground shots that remind me so much of De Palma).
Decadent, lush and hallucinatory. The first scenes in particular are spellbinding as we lose ourselves in Carol's strange, erotic nightmares. Although it grows a little too talky and long in places, the film remains one of the most accomplished and elegant efforts in the giallo genre