Newly married to an older man, Julie returns to Vienna, where a razor wielding slasher is killing women. Jean, her cruel and sadistic former lover, immediately contacts her, certain that only he can satisfy her strange vice. But she rejects him. She also meets George, the handsome cousin of her friend Carol; both are newly rich, thanks to an uncle’s death. Julie’s husband Neil is away frequently, so George pours on the charm. Meanwhile, it seems that the slasher is now focused on Julie. Bodies pile up, other murders are barely avoided, and George invites her to go away with him. Can it end happily? —IMDb
Prolific Italian genre filmmaker Sergio Martino was born in Rome to a family with impressive film credits. His maternal grandfather, Genaro Rigelli, had directed films in Germany for many years and helmed the first Italian sound film, La Canzone dell’Amore. Starting his career as an assistant director for Rigelli and filmmakers such as Mario Bava and Brunello Rondi, Martino eventually moved into directing himself, with the lurid 1969 documentary Mondo Sex. Over the next three decades, Martino was responsible for some of the more exploitative films in a number of genres, moving from spaghetti Westerns (Arizona, Mannaja) to giallo thrillers (Lo Strano Vizio della Signora Wardh, La Coda dello Scorpione) to gritty crime films, sex comedies (including the minor hit 40 Gradi all’Ombre del Lenzuolo with Marty Feldman), jungle adventures, and apocalyptic science fiction. There were many duds, such as the appalling Ursula Andress vehicle La Montagna del Dio Cannibale and the ridiculous L’Isola… read more
Martino non ha il talento di Bava o del primo Argento e quindi,seppur provvisto di una sceneggiatura"di genere",non riesce a creare il pathos e la tensione che ci si aspetterebbe da un giallo di alto livello.Forse due scene sono rimarcabili:l'uccisione nel parco della cugina e l'aggressione alla Fenech nel garage.La colonna sonora non aiuta e il finale non è costruito troppo bene,sembra confuso e sbrigativo.2*
Great, passionate giallo. I'd say one of the best by Martino and obviously with Edwige Fenech it ticks all the boxes,
Rewatching this reveals it to be a superior giallo, not only in Martino's filmography, but in the genre at large. The classic pairing of Hilton and Fenech, supported by a solid cast that includes Ivan Rassimov, certainly helps, as does the genuinely inventive plot. The scene with Hilton and Rassimov in the imposing, nightmarishly empty Spanish desert is right up there among other iconic scenes from the genre.