The wife of a doctor (Jean Sorel) is murdered. He had a mistress a long ago, since his wife (Marisa Mell) always begged herself out of engagements because she is a asthmatic. On the other hand, she enjoyed a part time job as a stripper. Did the doctor kill her? —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'd love to be able to watch the non-sexed-up version, just for comparison's sake, but it's still full of classic giallo moments. In the first third especially you have his repeated use of indeterminate screens to reflect (or project) "doubles" of the various characters: Marisa Mell (in one of her two roles) shown, reflected in a mirror, gliding through her bedroom. Or Sorel's brother appearing suddenly
as a dissolving reflection of just his shoulders and head, almost as if he's being front-projected into his speaking part in the scene. Or even the love scene shot from under/inside the bed's sheets, showing Sorel and Martinelli as if they're making love through veils. The fact that this visual theme then manifests itself as an additional character/plot device—in the appearance of Mell, in her second role—gives some idea of how much is actually at work in this *Vertigo*-inspired giallo.
Terrific, ultra stylish 60s giallo from Fulci. It is just a shame about the final scenes with the reporter who explains what happened.
One of the most facinating giallo movies ever made. In my opinion it makes first 10 without any effort. It's like watchig Godard going B-movie! Very interesting screenplay, which bumps unfortunately after an hour within a movie, but it's still goddamn sweet and sexy considering acting and beautiful cinematography.
An offbeat, sexy giallo mystery from director Lucio Fulci. It is slow in spots; but its dripping with style, late-60s Euro-excess (even though it was shot in San Francisco), and satisfying plot-twists - all set to a great jazz score by Riz Ortalani. A strong entry to the genre for fans of Italian exploitation.