Deadly Trap

I found Oasis Of Fear to be a good movie. It is about a young hippie couple that are trying to sell illegal pornography whilst they are in Italy. There is not too much nudity in the film, They drive around in a yellow open top sports car. they manage to break into the garage of this womens villa, and try to steal petrol from her car. she agrees to let them stay in her villa for the evening she then gets tortured by the young couple and they get involved in a murder case. I noticed that during some parts of the film. some sences were done with Italian subtitles, where there was no dubbed English. i thought that it was a good made exploitation film.

Posto ideale per uccidere, Un (1971) aka Oasis of fear aka Dirty pictures 7/10

A young free loving hippy couple Dick (Ray Lovelock) and Ingrid (Ornella Muti) buy a car load of porn in Copenhagen to help fund their holiday in Italy. Once in Italy they find plenty of takers for their product and soon find themselves very flush with cash which they spend like there's no tomorrow, soon they find they are broke again and Dick has the idea to take porno photos of themselves and flog them, but they approach the wrong person and are soon in the custody of the local police who confiscate the pics and give them 24 hours to leave the country. On their way home, their car runs out of petrol and so they knock into a nearby large house, where having received no reply decide to siphon off petrol from a car in the garage. They are confronted by Barbara, the apparently flustered lady of the house who threatens them with the police, but then on hearing their story changes her mind and invites them in for some food and to stay the night. It turns out she is the lonely wife of a NATO colonel and soon all three are involved in some flirtatious sex games, but who is taking advantage of who? Next morning we find out……

Another fine early Giallo from the diverse Lenzi, a rather bloodless and character driven film that doesn't really follow the Giallo tradition or for that matter let on where its going until the end, Lovelock and Muti are very good as the young sexually charged couple, who never hesitate to get naked, although Muti's nude scenes do seem to have been taken by a body double, Irene Papas as the very hospitable host takes most of the acting plaudits and portrays her characters vulnerability to perfection in a role that also requires her to show a sense of sexual frustration in a multi layered character and despite the fact not a lot happens in the first half of the film, there is a nice tension built up between the three leads. Lenzi also captures a fun frivolous swinging sixties full of flower power hippies, gypsies, sitars, swinging clubs which is defined by a very funky score with some horribly catchy songs by Bruno Lauzi. Although there is more than a slight overuse of the zoom lens throughout the film, Lenzi again proves to me he was a fine film maker. There's also a sting in the tale, in what is a rather muted and downbeat ending as Lenzi finally reveals his hand. Recommended

Danish student Ingrid (Ornella Muti) and her English boyfriend Dick (Ray Lovelock) decide to sell pornography illegally in Italy, and at the beginning, they make a lot of money and spend a great holiday time there. Then they are arrested by the police, and their rebellious attitude (especially if you remember, this was 1970) doesn't help much. They end up on the street without a Lira in their pockets, and when a rich lady (Irene Papas) offers help, it seems a stroke of luck and they are not suspicious at all...

La bella Ornella in one of her earliest movies is very playful and looks best in a kind of Indian temple dancer costume here. All in all, "Un posto ideale per uccidere" is not a particularly dark or violent film, but with enough suspense. The rapid cut by Eugenio Alabiso - who also had his hands on genre classics like "Tutti i colori del buio" and "Lo strano vizio della Signora Wardh" - helps to speed it up a bit. Note: My Italian DVD is said to be transferred from the original negative with a running time of 83:49 min.

Umberto Lenzi, undoubtedly one of Italy's most diverse directors, directed a handful of Giallo's in his career, which ranged in quality from absolutely superb (Seven Blood-Stained Orchids) to rather silly (Eyeball), but Oasis of Fear was made while Lenzi still had a lot of respect for the genre, and as such it stands tall as one of his very best films. The first thing that struck me about the film was the happy pop soundtrack, and this ends up offsetting the nihilistic tone of the film beautifully once the first big twist hits. The film starts out by introducing us to two amiable British hippies, who travel to a foreign country to buy pornography. After spending all their money, the pair decides to begin making their own pornography, and it's not long before they find themselves on the run from the local coppers. After breaking down outside a lavish manor house, they decide to enter and steal some petrol. However, the lady of the house catches them and after initially wanting them to leave, she changes her mind and invites the pair in for a little three-way party...

This film doesn't adhere to the usual Giallo rules and traditions, and at first it's difficult to see where it's going. Lenzi does a good job with creating his characters, however, and although the first half of the movie is all about setting up the second half, it's interesting thanks to the handling and decent performances from all concerned. When the twist in the tale comes about, it's amazingly shocking because it appears to come out of nowhere, although Lenzi does a good job of ensuring that it doesn't feel superfluous to the plot, and the change of direction certainly suits the film. Oasis of Fear benefits from a good cast, which includes prolific Italian cult film star Ray Lovelock and future Italian beauty Ornella Muti. The pair interacts well, and provide good impressions of their characters; even though they're clearly not British. The real standout, however, is Irene Papas who is handed the meatiest role in the film (the one usually given to Carol Baker), and gets to have fun with a character who is anything but what she seems. The standout sequence of the film takes place in an aviary full of owls, and the nihilistic conclusion manages to be sad despite the lightweight nature of the movie, and overall; this is a Giallo definitely worth tracking down.

Un posto ideale per uccidere (1971), directed by Umberto Lenzi, is a stylish entry into the giallo genre that combines suspense, intrigue, and a touch of eroticism.

Lenzi's direction shines in creating a tense and atmospheric thriller. The cinematography captures the beauty and danger of the Italian landscape, using vibrant colors and dynamic camera work to enhance the film's visual appeal. The 1970s setting, with its fashion and cultural references, adds a layer of nostalgic charm while grounding the story in a specific time and place.

The performances are a key strength of the film. Ray Lovelock and Ornella Muti bring a youthful energy and chemistry to their roles, making their characters' descent into danger all the more compelling. Irene Papas stands out as the enigmatic Barbara, delivering a performance that is both captivating and unsettling.

The plot of Un posto ideale per uccidere is filled with twists and turns, keeping the audience engaged as the story unfolds. The narrative skillfully balances suspense and eroticism, a hallmark of the giallo genre, without becoming overly gratuitous. The pacing is generally well-handled, though there are moments where the film lingers longer than necessary on certain scenes.

One of the film's notable achievements is its soundtrack, composed by Bruno Lauzi. The music enhances the mood, oscillating between light-hearted tunes and more ominous melodies, effectively supporting the film's shifting tones.

However, the film is not without its flaws. Some plot points can feel contrived, and certain characters lack depth, serving more as plot devices than fully realized individuals. Additionally, while the film successfully builds tension, the climax and resolution may feel somewhat underwhelming to viewers expecting a more dramatic payoff.

In conclusion, Un posto ideale per uccidere (1971) is a stylish and engaging giallo that offers a satisfying mix of suspense, mystery, and eroticism. Its strong performances, atmospheric direction, and captivating plot twists make it a worthwhile watch for fans of the genre and those interested in classic Italian cinema. While it has its imperfections, it remains a memorable and entertaining film.