Orgasmo (1969)

... aka: Dejlig enke i farlig trekant (Lovely Widow in a Dangerous Triangle)

... aka: Erotisch waanzinnig (Erotically Insane)

... aka: O Louco Desejo (The Crazy Desire)

... aka: Paranoia

... aka: Sadismo

... aka: Une folle envie d'aimer (A Mad Desire to Love)

Directed by:

Umberto Lenzi

Sick of playing the Hollywood game, her limiting contracts at both Warner Bros. And Paramount (she ended up being fired by and essentially blacklisted from both) and having a hard time finding acting work after several high-profile flops, actress Carroll Baker divorced her husband, took her kids and moved to Rome for a ten year period in the late 60s. After appearing in the forgotten comedy Her Harem (1967), she starred in the film would go on to define her entire stint in Italian cinema: Romolo Guerrieri's giallo THE SWEET BODY OF DEBORAH (1968). Thanks primarily to some coy nude scenes from its star, Deborah became a box office hit in Europe and the actress went on to headline many similar thrillers, mysteries and horror flicks over the next eight or so years, most of which tried to capitalize on the promise of Baker nude scenes. Many of these, particularly the earlier ones, were considered very racy for the time but are tame by today's standards.

Orgasmo (released in the U. S. as Paranoia and noteworthy as one of the first films to get the then-new U.S. X-rating) was Baker's second giallo and third Italian film. It also marked the first of four films Baker did with director Umberto Lenzi. The two followed with So Sweet... So Perverse (1969), A Quiet Place to Kill (1970) and Knife of Ice (1972). Once giallo fell out of favor in the mid 70s, Baker did a couple of sex comedies and then returned to the States. Her first film back was the incredibly tasteless black comedy Bad (1977), an indie for producer Andy Warhol, where she gave one of her finest performances yet. The film managed to renew interest in her and a few years later she was working for top studios like Disney and Warner again.

Baker's role here, which has some interesting and probably not coincidental parallels to her real life, is scandal-plagued widow / celebrity Kathryn West. Kathryn flees to Italy from New York City after Robert, her much-older, obscenely wealthy hubby, unexpectedly died in a car crash. Robert owned two petroleum companies, four television stations, a chain of department stores, real estate and other assets that are all currently in the process of being liquidated and sold off. But all the money in the world couldn't buy love and affection and that's what the relationship was sorely lacking. In other words, while Kathryn may miss him... she doesn't miss him that much. And she definitely doesn't miss his family, who aren't too thrilled that she's planning on selling most of his properties and businesses, which they feel should stay in their family; hence why she was so eager to get out of New York and never plans to return.

Kathryn is greeted by a mob of reporters at the airport, but she's soon whisked away by her lawyer Brian Sanders (Tino Carraro) to the Italian countryside. A beautiful, luxurious and, she hopes, tranquil villa awaits. Kathryn is so dead set on peace and quiet to work on her paintings that she insists on as little noise and commotion as possible, which includes removing all television sets from the home. Due to the stress, she's taken to chain smoking, popping pills and guzzling as much J&B Scotch and wine as she can get her pretty little manicured hands on.

The quiet doesn't last for too long. A confident and very brash young man, Peter Donovan (Lou Castel), shows up one day obnoxiously honking his horn and looking for a place to fix his vehicle. Finding herself attracted to him, Kathryn lets him in and he's soon joining her for a hilarious "steamy" shower romp which wouldn't be funny except for the fact someone from off-screen is going crazy pumping comic amounts of smoke on both of the actors as they're pawing at each other. Trying not to draw attention to their secret affair, and not wanting the moody housekeeper Teresa (Lilla Brignone) to find out what they're up to, Kathryn sneaks Peter out of the villa following every encounter. After all, it probably wouldn't look too seemly for a new widow to be getting her oyster shucked by a young man just a few weeks after her husband's death, eh?

After returning from London from a disastrous meeting with her late husband's aunts, Kathryn wants to pick up where she left off with Peter. At first he refuses her offers of money, but she soon finds herself paying three months of his back rent. When she invites him to stay at her villa for a week, he invites his hereto unmentioned sister Eva (Colette Descombes) over. The short-haired Eva appears to be a free spirited and gentle "make love, not war" type and doesn't hesitate to express her extremely high opinion of Kathryn. And, while flattery may not get you everything, it at least helps get your foot in the front door. Kathryn is soon enjoying the youth culture and partying hard; hitting up discos, drinking even more than she usually does, taking new pills, trying on terrible wigs, engaging in kinky sex (did I mention that Peter and Eva are only stepsiblings?) and sleeping in until four in the afternoon.

Kathryn's life soon starts spiraling out of control. Someone appears to be sneaking into her home late at night, turning showers on, opening windows and doors and moving her self portrait. Eva starts slipping her drugs and Peter fires Teresa and mute handyman Martino (Franco Pesce) and then starts slapping her around. Eventually Kathryn has enough of their "degenerate games" and kicks them out... but they aren't going away so easily and return to take over the home. The twisted duo blackmail her with lezzy photos, keep annoying her by playing the same song over and over again, continue to drug her and ply her with liquor, slap her, beat her with a belt, call her things like "demented drunk" and "filthy bitch," serve her a live frog for dinner and finally plot to kill her.

Even though I've not yet seen all of Baker's European films, this is by far the most entertaining performance I've seen out of her in an Italian film. While she's saddled with plenty of cringe-inducing "naughty" dialogue in the earlier erotic scenes ("Dirty me, dirty me, yes yes yes yes!"; "I want to DEVOUR you!"), she does a decent job when her character later descends into madness. My favorite bit though is when she makes the casual aside "I've had a problem with my liver lately" right before sucking down a pill with some wine.

Though it's admittedly not saying very much, this is also the best giallo I've seen from Lenzi. While not all that impressive visually (there's elegant interior design, garish 60s fashion aplenty and the usual zooms, out of focus and kaleidoscopic shots from the cameraman) it's consistently entertaining, often hilariously (accidentally) campy, sleazy and well-paced, plus you do at least feel invested in what's going on and in the fate of the various characters by the end. Never mind the fact Roger Ebert selected this as the second worst film of 1969, behind only Jess Franco's Succubus! We already know he didn't watch stuff like DRACULA (THE DIRTY OLD MAN), IT'S ALIVE and Scream Baby Scream.

This received pretty spotty home video distribution in the U. S. until recent. At the dawn of the video era, there were cut, pan-n-scan early Beta and VHS releases from NTA and Spotlite Video (both divisions of Republican Pictures) here, plus a VHS from Videoform in the UK. The later DVD-R version from Synergy Entertainment was a cut, full frame TV print. A Blu-ray was finally released in 2020 by Severin Films.

★★1/2

Trhauma (1980)

... aka: Démence (Dementia)
... aka: Trauma

Directed by:
Gianni Martucci

I often forget that disco didn't actually die with the 70s and was still lurking around afterward. It was in its death throes, for sure, but was still trendy enough in the first few years of the 80s to be popping up even in some places you wouldn't necessarily expect. Like horror films. The famous example most turn to when discussing disco horror is the Jamie Lee Curtis vehicle Prom Night (1980), which was so disco that it wasn't so much infused with it as it was informed by it. Then there was Don't Go in the House (1979), which capped off its grim, depressing story of a traumatized psycho torching nude women with the upbeat "Struck by Boogie Lighting" over the end credits. And who could forget (I'm still trying) the horror-comedy-erotic-musical Nocturna (1979), which basically existed as a showcase for disco dancing, disco fashions and disco music and boasted having a soundtrack from "Disco Queens" like Gloria ("I Will Survive") Gaynor and Vicki Sue ("Turn the Beat Around") Robinson right on the poster?

While the three titles above probably represent the most extreme end of the spectrum, disco had a funny way of weaseling its way into isolated scenes in many other films, whether that be the modeling session where Joe Spinell ogles potential victims in Maniac (1980) or vampire George Hamilton showing off his moves to the disco hit "I Love the Nightlife" in Love at First Bite (1979). Not just a North American phenomenon, disco also featured heavily in numerous European and Asian genre films. And it's even all over the soundtrack of this obscure, low-budget Italian slasher flick. Credits in need of music? Disco! Models posing for the camera? Disco! A man pulling up a driveway in his car? Disco! So even though it doesn't really fit the tone of the rest of the film, you're gonna have to endure the soundtrack occasionally giving you a little "Whoooooooo! Come on dance! Dance!" with scenes like a stuffed kitten getting its head lopped off.

The kitty slayer in question is called L'essere ("The Being") in the credits. No real name. That's it. As a young boy, "The Being" was teased by another boy for having a messed-up, all-white eye and then fell out of a tree. Now, as an adult, to say "The Being" is not very well-adjusted qualifies as a massive understatement. We can assume his tree fall stunted his mental growth as he still loves to play with Duplo blocks, but his other hobbies and interests are strictly adult in nature. That is, if the adult also happens to be a sick-o into strangling German Shepherds with their bare hands and having necro relations with bloody female corpses in sheep waste. But I think I'm getting a little ahead of myself here.

After meeting "The Being," we're then introduced to a bunch of other characters so underdeveloped they can only be measured on a mild-to-severe scale of how unlikable they are. Much to his wife's chagrin, Andrea ("Ronny Russ" / Gaetano Russo) has just recently purchased a large, old hillside villa. It's a beautiful home but it's also a fixer-upper, which is exactly why wife Lilly (Dafne Price) is frustrated with him. Since she inherited a bunch of money, he's done nothing but blow through it buying cars, yachts and property all over Europe. Lilly is not the least bit interested in his plans to sink even more money into renovating this new place he's just purchased either, but she's there all the same to wet blanket his greedy ass. Joining the couple there are half dozen friends.

Demanding photographer and budding blackmailer Paul (Timothy Wood) takes model Olga (Anna Maria Chiatante) out into the woods to shoot some nude photos. After she strips and bares all while a disco singer one-up's Andrea True by virtually having an orgasm on the accompanying track, he chews her out for not living up his high expectations. Angry, she storms off. The next time we see Olga, "The Being" is being his pervy self all over her dead body.

As night falls, and with Olga nowhere to be found, everyone grabs a lantern, split up and start searching the grounds. After Silvia (Silvia Mauri) is attacked, the gang do the usual horror movie routine of trying to call the police (phone lines have been cut), trying to drive away (tires have been flattened) and then, after finding the lone functioning vehicle on the property, sending just two people out to get the police instead of having everyone pile in and leave together. This naturally enables "The Being" (Per Holgher) to intercept and kill the police-fetchers after they stop to open the gate and then return to the home immediately after to bump everyone else off as they're waiting.

During the first 20 minutes, I thought this was going to be some unheralded sleazy classic. It comes charging right out of the gate with an one-eyed kid, a guy fighting a dog, a murder, nudity, a giant Lego castle, necrophilia, a stuffed animal decapitation and, yes, even that amusingly-at-odds-with-everything-else disco music. Problem is, nothing that occurs after all that is anywhere near as entertaining. The plot isn't very interesting, there's little suspense and lots of bickering and characters aimlessly wandering around. Even worse, the murder sequences are bland and most of the killings are either bloodless or occur completely off-screen. That's a big no-no for a flagrantly unoriginal film with as little story as this one has. Multiple strangulations, off-screen stabbings and people just falling out of frame as the killer approaches don't really cut it.

Gripes aside, this isn't the worst thing you'll ever see either. At least it's not as boring as the same director's other foray into the genre, THE RED MONKS (1988). It's watchable. It's tolerable. It runs only 78 minutes. And if you don't care so much about originality and prefer the "stalk" to the "slash" in your stalk-n-slash flicks, you may like this a bit more than I did. Co-star Russo co-wrote the screenplay with Alessandro Capone (WITCH STORY) and the cast also includes Roberto Posse (who has a pretty good trash film resume) and Franco Diogene (who was acting for Fellini and in movies like Midnight Express around the same time he appeared in this).

Though this was released on video throughout Europe and in parts of Asian (as you can see from the Korean VHS above, they put the English title backwards!), it was never released in the U.S. and is still not officially available in English, though fansubs are available. I still can't figure out if the title is intentionally misspelled or not!

★★