Crazy Desires of a Murderer
Giallo. I really love Giallo. I also love taking long periods of time where I don’t watch Gialli only to have them make such a larger impact on me when I return to the genre and get that “Oh shit, this is why I really love Gialli!” rush. I guess you could compare it to not smoking for a while, and then returning for that kick the first couple of drags gives you. I love movies that I can’t predict and the Giallo genre is filled with that kind of beautiful movies… not even ones I saw on video half a lifetime ago.
There’s something off kilter in the De Chablais castle. Young jet setter Ileana De Chablais [Isabelle Marchall, also seen in Sergio Pastore’s Sette Scialli Di Setta Gialla (The Crimes of the Cat) 1972 and Luciano Ercoli’s Troppo rischio per un uomo solo (The Magnificent Dare Devil) 1973] brings a bunch of shady types back to the castle for a weekend of party and fun. It’s obvious from the start that some of them have other intentions with the weekend, such as Pier Luigi [Roberto Zattini] who we see co-horting with mobsters he apparently owes money to. Bobby [Gaetano Russo – who’s only starred in some two dozen flicks, but still managed to score a parts in Stelvio Massi’s Cobra Nero (Black Cobra) 1984, Richard Donner’s fantasy classic Ladyhawke 1985, and Bruno Mattei’s second flick L’isola dei morti viventi (Island of the Living Dead) 2008] is a pusher who’s used his suave charm to exploit Ileana’s naiveté and smuggle drugs into the country through the antique vases she’s brought home for her father the Baron. Elsa [Patrizia Gorzi], refuses the invites of her husband Frank [Beppe Colombo – who only starred in a handful of movies but went on to become a successful producer on amongst other things Dario Argento’s La Stendhal Syndrome 1996] after he’s been intimate with Gretel [Adler Gray] and instead ends up bedding Pier Luigi instead… so you get the jest of things, they are not a very sympathetic bunch adding more reasons to suspect them all when the shit hits the fan, which it does so quite soon after the first night of sinful charades. White gloved hands wander the corridor, a knife is pulled forth… soon the knife is bedded into the soft silky stomach of Elsa, as she bleeds to death the killer shifts focus to her eyes. The knife that moments ago sliced trough her gut, sadistically slices out her eyes too!
There’s an oddity to be found in the opening attack, which establishes Ileana – one yet another of her trips, and the Baron, and a suggested threat. A pair of bloodied hands roam the corridor, whilst it’s owner stay safe in the off-screen space. The hands wander into the Baron, who gasps and the movie titles – rather crap ones, but at least accompanied by Piero Picconi’s decent score – kick in. A strange opening sequence as the rest of the movie will show that it was all merely one of may red herrings laid out to trick the audience. Picconi’s score in all respect, but there’s more than one scene where I find my mind rushing off to connect the, either blatant rip off, or similar tunes from other movies of the time.
The movie looks every bit the part, cinematographer Gino Santini, gives the movie a treatment that certainly mimics the look and style much like similar, movies of the time. The corridor and cellar scenes are perhaps not originally composed when it comes to the lighting, but the shadow play of figures lurking down in the cellar is splendid.