Christian (Robert Hoffman) and his girlfriend are taking a walk on a deserted beach when they discover a woman’s body lying. A closer look proves that she’s alive. The next day Christian meets her again at a yacht party and they fall in love. Later at a nearby motel, something weird happens as they prepare to go to bed together: An intruder breaks in and starts beating Christian who accidentally shoots him with his own gun. A few hours later they find out that the corpse is missing and a series of weird incidents takes place. —IMDb
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
What I kept thinking of this time around was, strangely enough, Fincher's *The Game*. The home movie footage of Christian and Fritz as traumatized brothers who are dealing with the suicide of their father had me thinking of the similar backstory/footage/echoes in Fincher's film. The fact that both films present narratives that are complete fabrications—fabrications made for the "benefit" of their protagonists—
Highly preposterous but also highly entertaining giallo thriller directed with great style and energy by Umberto Lenzi, helped along by another effective score from Ennio Morricone. The plot bends credibility and logic at every twist and turn, but in a genre that prides visual flair and psycho-energy over logic, it's a great deal of fun for fans of Italian exploitation.