Tuesday, February 23, 2010


Another wholesome helping of decidedly unlegitimate italosleaze goodness.

What Have They Done To Solange? (*****)
sensational movie with a terrific international cast; the tone -whilst not without welcome moments of giallo sleaze- is relentlessly dark, containing shocking plot developments that nowadays nobody would dare touch, and all leading to an extremely satisfying finale

Death Walks On High Heels (****)
a gloriously creepy, if at times convoluted, giallo set in a remote unnamed English coastal village with a superbly bizarre cast of support characters and extras

Tenebrae (****)
Dario Argento has lots of amazing wonderfully wild cinematic ideas; his direction however, like the quality of the women he casts (comparatively speaking), is pretty rough around the edges - that said, Tenebrae is arguably his best and notable for its memorable climax, Goblin's fantastic soundtrack - oh, and a very scary dog

Forbidden Photos Of A Lady Above Suspicion (*****)
what it lacks in gore, Forbidden Photos more than makes up for in sexual intrigue, its feisty script and glossy cinematography, and above all, Dagmar Lassander's array of cripplingly beautiful outfits and sezzy looks

Who Saw Her Die? (***)
this thematically dark giallo set in the magisterial ambience of Venice (like Roeg's later and derivative Don't Look Now) is simply astounding leading up to the second shocking murder; unfortunately, the direction then becomes somewhat incoherent, Lado perhaps trying too hard to stick to the genre's formulae

Your Vice Is A Locked Room And Only I Have The Key (*****)
you've got it all here: stellar cast featuring a perfect role for Edwige Fenech and an outrageous performance by Luigi Pistilli, finally a male actor up to the task in hand; some top-class sleaze; a twisty satisfying plot; some gorgeous cinematography; an astounding baroque Bruno Nicolai soundtrack.... and a black cat

All The Colors Of The Dark (***)
it's testament to the beguiling charisma of Edwige Fenech that she manages to single-handedly carry what would be an otherwise mediocre giallo, here, as she is caught up with some Satanic crusties in London and an unlikeable husband

The Strange Vice Of Mrs. Wardh (****)
even Conchita Airoldi is upstaged by the magnetic painful beauty of Edwige Fenech - classic giallo, set in Vienna and a still-Francoist Sitges, which explores unusually brave themes regarding female sexuality; Nora Orlandi, a Morricone cohort, provides a memorable, at times experimental, soundtrack to the proceedings

Strip Nude For Your Killer (***)
for what 'Nude per l'assassino' lacks in terms of plot cohesion, character development, and plausibility, we are amply compensated by the quality of sleaze on display


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