On the surface, it’s an odd combination to say the least – a Cornell Woolrich story serving as the basis for an Umberto Lenzi film. Woolrich was the author of several stories during the fifties that were turned into such film noirs as Black Angel and Phantom Lady. Alfred Hitchcock’s Rear Window was also based on a Woolrich story.
Lenzi is best known as king of the cannibals for his Cannibal Ferox, Deep River Savages, and Eaten Alive films. But he was also proficient earlier in his career with thrillers in the giallo mold including Spasmo and Orgasmo so maybe it isn’t such a surprise that itt all works much better than you would suspect, resulting in an easily digestible confection of mystery, graphic violence, and Antonio Sabato. Continue reading
This is an okay giallo marred chiefly by its use of convoluted red herrings that I could never even figure out what I was supposed to be thinking they pointed to. Combined with the fact that our hero, Inspector Luca Peritti, cracks the case after visiting the murder scene and having a flash of inspiration while simultaneously rendering the previous 85 minutes of investigation completely meaningless and you end up with a film that has its moments (notably a couple of well done death scenes) and is able to keep you involved, but only because you’re unaware that everything you’re seeing doesn’t matter in discovering the killer’s identity. Continue reading
I thought this would have been sort of obvious, but is it really a good idea for a mental hospital to have an assortment of weapons including battle axes, maces, swords and an iron maiden as part of the decor in the lounge where the patients and doctors hang out chatting and playing chess? Continue reading