Tag: Sergio Martino

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972)

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Directed By: Sergio Martino

Written By: Sauro Scavolini, Ernesto Scavolini and Adriano Balzoni

Story By: Sauro Scavolini and Luciano Martino

Based On the story “THE BLACK CAT” By: Edgar Allan Poe 

Cinematography: Giancarlo Ferrando 

Editor: Attilio Vincioni

Cast: Edwige French, Anita Strinberg, Luigi Pistilli, Angela La Vorgna, Ivan Rassimov, Daniela Giordano, Ermelinda De Felice, Enrica Bonaccorti 

A string of murders are committed near the estate of a degenerate author, whose abusive relationship with his wife is further complicated by the arrival of his manipulative niece.

Always a fan of longer movie titles as they come across poetic and almost like the log line or heart of the film. Then again it could just be the translation of the title in English from Italy. When actually it’s based on a line from the film’s director Sergio Martino’s earlier and much better film THE STRANGE VICE OF MRS. VARDH 

This twisted erotic thriller that has giallo implications. Only other than the beautiful lead Anita Strinberg everything else comes across not glamorous and even ugly. Not as stylish as it seems to try to be. Though the film can be sexy at times and has at least one memorable seductive sex scene. The females amongst the cast are the only beauty this film ends up having other then maybe production design. 

One can see why the leading man played by Luigi Pistilli is mad throughout. He’s A suspect in a few murders of female companions and lusting after Edwige French’s character. Who is supposed to be his niece. She is not only ravishing but She seems to have sex with every other character except for him at least for most of the film

No, as the film and lead are so abusive and misogynistic it’s hard to see where exactly the movie is going or care about most of the characters.

Only one main character approaches any sympathy the only other decent characters are supporting or die way too soon

No, the film is abuse and violence as foreplay as the main couple have a dysfunctional, almost S&M relationship not that the fetish factor makes it dysfunctional as that can be normal. Their relationship has just too many problems throughout.

The lead characters, horrible teeth don’t exactly help sell them as likable or even handsome maybe in a rugged British or masculine manly way that was more in vogue at the time, but once the story does come back into focus and spells it out a little more and you feel the same

The film isn’t stylish enough to really impress or make an audience take notice. The soundtrack isn’t really that impressive either as it becomes more annoying at times as it goes along and even at a little over 90 minutes, this film could’ve been shorter, but that would take away from the films atmosphere that keeps trying to build

The inclusion of an African-American character only to be fetishized and brutalized quickly, but that is how the film treats most of the female characters, including random ones only one of them ever truly takes command to make sure she doesn’t stay that way well the other one tries

The ending makes up for it, but it takes so long to get to it to showcase and explain why certain actions needed to be taken and the relationships between certain characters

Ms. French is no slouch, but not as grand. Even as a moral conniver. If one has seen enough of these movies for all the twists and surprises the filmmakers try to give. You can figure out the ending pretty easily. As it reminds you of a TALES FROM THE CRYPT  episode that guy was on for too long and isn’t as fun though perfectly fits.

Though that is also where the film truly gets interesting while offering an Edgar Allan Poe type ending. Which upon research is what the film is based on. 

Grade: C 

THE STRANGE VICE OF MRS. WARDH (1971)

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Directed By: Sergio Martino 

Written By: Eduardo Manzanos, Ernesto Gastaldi and Vittorio Caronia 

Cinematography: Emilio Foriscot and Floriano Trenker 

Editor: Eugenio Alabiso 

Cast: Edwige French, George Hilton, Cristina Airoldi, Manuel Gill, Alberto De Mendoza, Bruno Corazzari, Carlo Alighiero, Ivan Rassimov 

After arriving in Vienna with her diplomat husband, a woman is stalked by a mysterious, razor-wielding maniac, with people around her getting killed one by one.

 Right now, I am truly immersing myself and the Gallo genre or at least catching up on many that I have never seen and truly never heard of when is thankful for Tubi for actually having a lot of these films to offer finding out about these films from various box sets devoted to lesser known examples of the genre. vinegar syndrome in particularly has a bunch of these in box sets that help me just discover titles to try to find and see for myself

There is a certain grace in Giallo films 

And it fees  like the story telling is on a rhythm almost like liquid as it flows. This film feels more rough around the edges att times. Which adds to it’s Charms. 

Though they started in these films and the women sometimes are treated horribly in them. Though the Film and filmmaker seems devoted to showcasing the actresses as unearthly beautiful but makes their behavior all the more human. That either you root for them in their indiscretions as their partners treat them horribly. So that you feel a certain sympathy for them. It is also the filmmakers putting you on yheornside as the men dominate the women to make them seem all the more human and weak to a certain extent. that way each film seems like a testament to the actress or the lead character and the actress just encases the role.

story wise this film is pretty typical of Giallos. There’s always a murder mystery at hand and the film offers. You many suspects as well as grand death scenes scenes were the lead female character is almost a victim, but it saved last minute or manages to escape. 

it tries to make you believe that anyone could be the killer offering, red herrings, and plenty of motives for different characters who are close to the main character to do it as well as scenes that try to provide alibis or reasons as to why we might suspect cannot be the killer.

While also providing plenty of intrigue, seduction, glamour, international landscapes,  sex scenes, nudity and graphic violence that the directors usually try to make seem brutal, yet artistic in the aftermath.

Even though a little more predictable than usual, this film is truly an undiscovered gem as again it’s imperfections or set it apart from the typical Giallo, which can be original sometimes are so stylistic that it’s too much for their own good.

Edwige French captivtes the screen. As you want to see more of her or for her to do more. One can’t take their eyes off of her. Conchita Airoldi does the same in a more supporting role. Which has her leavi g the film before she can truly make too much of an impression, but while she is there. She works as a distraction at times though one with a great smile. 

By the end the puzzle isn’t too hard to figure out but the end packs a hell of a punch. 

Grade: B

TORSO (1973)

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Directed & Story By: Sergio Martino
Written By: Sergio Martino & Ernesto Gastaldi 
Cinematography: Giancarlo Ferrando 
Editor: Eugenio Alabiti 

Cast: Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson, Roberto Bisacco, Ernesto Colli, Angela Covello 

A string of appalling lust murders shocks the University of Perugia as a sadistic serial killer strangles to death beautiful college girls with a red and black scarf.

This film is bathed in sex and nudity more than expected. Even though at times the film tries to make it more artistic but still feels excessive.

This should be a teenage boy’s dream in the 1980s and 1990’s before the internet came forward. This is the type of foreign film you were hoping to catch on cable television that the TV guide said contained nudity and sexual situations but was usually more on the artistic side.

This film is more a murder mystery slasher where most of the characters who survive are suspects.

The actors playing college students in this movie all look way too old, but that is to be expected. 

In living up to the film’s title, the killer carved up their victims after death. The film makes it feel fetishistic. As the camera and the killers’ hands Roam the victim’s naked body

Usually the torso before dissecting it and poking out the eyes. (Trust me the violence sounds worse in the description than what is shown) other times the camera lingers on the actress’s beauty also bodies.

As a product of The Times when it was released the film is definitely misogynistic. As most of the victims are female and the male victims are either afterthoughts or killed more aggressively and gruesomely. The male characters’ attitudes towards women are just as gruesome.

The final reveal is so ridiculous. As usual with a bit of a far-fetched initial motive for the killer.

As the film seems to maleness the death scenes more iconic while the Women look to live up to the killer’s view of them As living dolls.

With a happy-go-lucky soundtrack and each death explained except for the one person of colors. Who the film leaves as more of a discarded accessory’s. As they all gawk and the female characters are mo resemble fashion models at the time.

The film also has the male characters have ugly attitudes towards women. So that each seems like they could be the Killer. No matter how minor the character. Though her crime might be that she is a lesbian also for the film.

It offers very fun surprises and almost seems to get tired of creating more elaborate Murders.

Also seems that some characters are added to only be victims and up the body count as well as seem fairer in the number of male viewers 

GRADE: B-