Olivia - Im Blutrausch des Wahnsinns

As a child, Olivia witnesses the brutal murder of her prostitute mother by a client; fifteen years later, she is in an abusive marriage, and, suffering from schizophrenia, hears her dead mother's voice instructing her to become a hooker. Olivia (Suzanna Love) kills her first customer, but falls for American engineer Mike Grant (Robert Walker Jr.), who treats her with kindness and compassion.

When Olivia's husband Richard (Jeff Winchester) catches his wife in a passionate clinch with Mike, he attacks the engineer, but accidentally falls from London Bridge into the Thames during the altercation, after which Olivia disappears into the night.

Four years later, Mike is working at Lake Havasu City, Arizona, where London Bridge has been reconstructed. There, he bumps into a condo saleswoman called Jenny, who he recognises as Olivia. They rekindle their love affair, unaware that Richard is still alive, and has tracked Olivia to her new home in the desert.

Theories abound about the exact meaning of the nursery rhyme 'London Bridge is Falling Down', an enduring playground favourite amongst young children. Ulli Lommel's Olivia (AKA Prozzie AKA Double Jeopardy), which centres around the famous bridge, is also something of a puzzler. I suspect that the director was trying to use the bridge, so out-of-place in Arizona, as a metaphor for Olivia herself - but it's a clumsy conceit that Lommel is unable to make work.

The awkwardness of Lommel's uneven script is compounded by ham-fisted direction, terrible acting, and badly executed scenes of violence, Lommel even resorting to borrowing from his own (utterly diabolical) Bogeyman II, with a ridiculous death-by-electric-toothbrush scene (it didn't work there, and it's just as unbelievably dumb here as well).

An obvious low budget certainly doesn't help matters, the film looking cheap and nasty throughout, but even if Lommel had been able to 'build it up with silver and gold' I doubt if he could have made Olivia anything but another rather forgettable clunker.

Variously known as, Olivia, A Taste of Sin, Prozzie and Double Jeopardy, this has as many twists and turns as it does titles. Eccentric ex art house director Ulli Lommel, writes, directs and even looks after camerawork here in a very strange film. Seemingly considered by the makers as 'Hitchcockian' there is only one decent scene of suspense and lots more that appear to have crept in from many and varied a genre. As so often with low budget fare the bonus is that you never quite know where things might go, but who expects the evil child, slasher, sexploitation movie to tell the story of the moving of London Bridge to Arizona?! Likeable, varied, ludicrous but involving with Suzanna Love helping enormously in a most convincing central role. Crazy, but cool.

I like Ulli Lommel's film The Bogey Man so much that I have 3 different copies of it; I even have 2 of it's poor sequel. I also collect many of the 88 Films releases, so when this came out I just had to buy it. The British blu ray comes with an enticing cover (film is entitled Prozzie) and is part of 88's Slasher Classics Collection. This, however, is NOT a slasher movie, much more a psychological thriller with a bit of sex and horror thrown in. I prefer the first half of the film, which is set in London. It's pretty dark and has a few Lommel touches reminiscent of The Bogey Man. But when the action moves to Arizona the plot becomes pretty silly & unbelievable. This film grew on me after a second viewing, so I'm glad I hung on to my Blu Ray copy as I had contemplated selling it.

If you go into this movie believing it to be a horror - as I did - you will be disappointed. It might pass as a thriller, but this is mostly drama, and character study.

15 Years ago, Olivia's mother - a hooker - was killed by one of her customers. Now 20 and married to Richard, Olivia is still haunted by her mother's death. Richard is a bit of a brute, and when he refuses Olivia getting a job, she decides to follow in her mother's footsteps - not to make money, but to avenge her mothers death by killing men who picks her up.

One night she is spotted by Michael Grant, an engineer, while taking pictures of a bridge he is working on. Getting acquainted, Olivia enjoys his sensitivity and they start seeing each other while Richard is at work. Olivia is totally nuts, and I found her annoying at times. The film just gets worse towards the end and without spoilers I guarantee you're not going to like how this plays out.

I found the film slow and uninteresting, so chances are I'm going to forget this in an instant. Not that it would matter...

Somehow one is reminded of Brian de Palmas film "Obsession" when watching this rarely seen German-American production from the early eighties. Ulli Lommel, once member of Rainer Werner Fassbinders highly intellectual actors group, turned to directing when he still under Fassbinders influence, but after his mentors untimely death he finally turned to more commercial topics. "Olivia" – or "A Taste of Sin", as it is apparently also known – at first sight looks like pure (S)Exploitation, but there's more to it. As Lommel says in the short interview that accompanies the films' German DVD release, the idea of the story came to his mind when he, while on a trip with his then-wife Suzanna Love (playing the main part), found out that the London Bridge was rebuild in Arizona. He used this as the outline for a sort of identity-switch trouble-personality killer-love story – combining two places with two personalities, both of which essentially having been one from the very beginning. True, the way the story unfolds is far from cinematic brilliance, but nonetheless it is quite entertaining; and in no one way is this modern fairytale the brutal splatter film that others would probably want it to be. There are some harsh effects, and a few violent scenes are included in the aforementioned DVD as bonus (yet only the material that was originally cut out is seen, which makes some of this bonus shorter than even a second!). But sex, murder and blood, while still important for the outline, are not the main attractions. Lommel intensely tries to give his film a psychological touch. Because of his limited skills in storytelling, he does not succeed. But still: Olivias rite of passage makes for entertaining viewing, especially is you like that particular touch of weirdness, absurdity and "otherness" that so many great underground pictures from the 70s carry.