First class cinematography through and through, particularly early in the film when split screens, finger persuasions, and nutcrackers paint the brain of an insatiable woman. Speaking of painting, later, knives soaked in red are thrusted at a canvas intently to, well, make a painting (quite charming). Trips upon itself with the details, doesn't matter; the moving images are the best of all giallo and it's siblings.
[Spoilers] I wanted to love it, what with the frenzied music of a dying Swinging London, dated stylist effects, cool dream/sex scenes, Morricone, and the presence of Genn and Stanley Baker. But despite great sequences -the brilliant chase though an abandoned building foremost- its a bit of a mess, the psychoanalytical aspects and use of artworks (like Francis Bacon) a crude attempt at adding pedigree and tension.
The first Lucio Fulci movie I've liked. After all, one may easily forget two or three scenes that announce the Fulci movies of the 80's by concentrating on Leo Genn, Stanley Baker and Florinda Bolkan. I also liked the dreams. Highly recommended.
Superior giallo thriller from director Lucio Fulci gets off to an unsteady start, but once it really gets going, it's an effective murder-mystery that genuinely keeps you guessing. Stylishly shot with Fulci's trademark fluid camerawork and fast-cut editing making for a number of classic suspense sequences. A must for fans of Italian exploitation.
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
Seemingly-nightly noisy debauchery in a neighbouring apartment leads Carol to be suspected of the murder of the next-door hedonist. Whilst a council eviction order might have resolved things more quickly it would have robbed the viewer of slow-mo nightmares and breast nudity by the bushel (or whatever the collection noun is). Some stylish touches atone for the jaded feeling.
Many consider this Lucho's finest, and one of the best examples of giallo out there, they certainly have a point. The dream sequences, the scene with the dogs, the decadent euro-trashy interior design, Florinda Bolkan. Lucho manages to mantain a balance between the erotic elements, the police investigation and the blood. Neither too little or too much, the praise is well deserved.
Striking imagery and terrifically effective at establishing an off-kilter mood through editing and sound, but the scene with the dogs was a nasty surprise, and the murder-spree-kicked-off-by-repression plot is the sort of feel-bad storyline that can be hard to take in the first place.