El dulce cuerpo de Deborah

"The Sweet Body of Deborah" follows the American Deborah (Carroll Baker) who marries Marcel (Jean Sorel) in Europe. The two go to Geneva on their honeymoon, but find their marital bliss disrupted over accusations that Marcel caused his ex-girlfiend's suicide.

The first of many horror and giallo films that Carroll Baker made in the late 1960s–mid-1970s in Italy, "The Sweet Body of Deborah" is one of the more amusing ones—significantly melodramatic, and bolstered with atmospheric set-pieces and cinematography. The first half of the film feels fairly one-note, but it begins to gain steam at the midway point. Lush cinematography of the Geneva Alps contrasted with the sunny atmosphere of Nice leaves the film visually interesting.

The film was clearly dubbed in post-production (in English no less, the language it was shot in in the first place), so there is a disconnect between the filmed performances themselves and the vocal supply that leaves something to be desired. In any case, Baker seems to be enjoying herself here, playing the sensuous new bride who finds herself in grave danger. Jean Sorel is watchable as her hunky leading man.

Overall, "The Sweet Body of Deborah" is a decent giallo mystery with light tinges of horror. It's a treat for fans of Baker, but stands on its own as a solid early entry in the Italian thriller subgenre. Not a masterpiece by any means, but a surprisingly amusing, atmospheric romp. 6/10.

IL DOLCE CORPO DI DEBORAH bears a strange resemblance with Umberto Lenzi's COSI DOLCE...COSI PERVERSA. Same lead actress (Carroll Baker), same plot, same twist ending. Made the same year...who is the copycat? Not important after all, the Lenzi's flick being far more superior in suspense & quality.

For about an hour or so, we follow newlywed Carroll Baker and husband Jean Sorel thru the Swiss Alps, Geneva, the swiss countryside... guess the Swiss authorities paid a lot to make their country have a sufficient screening time to get noticed. No plot at all, just beautiful shots of the mountains & the city. Then some hot sex scenes between Baker & Sorel. Then back to some über-chic club. Then some more hot sex. And, oh, there's Luigi Pistilli accusing Sorel of driving his ex Susan to suicide. That's the beginning of the plot. then they're getting scared by strange phone calls. Oh, er!

La Baker is viewed under any possible shot (no frontal nudity, though :these are the 60's), she can scream all right. But she really doesn't know what she's doing. Obviously, the screenplay either, as it doesn't know how to handle such screen presence. The editing doesn't help, as it jumps from flashy 60's shots of a nightclub atmsophere (flashy camera angles, too) to loooong face to face dialogues between the two leads. No rythm is given, which leads to some boredom after the first half hour.

The last 30 minutes are a bit more satisfying, as the suspense grows thicker, the rythm accelerates and the story really begins. Too bad it comes too late.

Romolo Guerrieri is not a great director here. He's just a man following Luciano Martino and Mino Loy's orders : show more Carroll Baker and to the hell with the story (who cares anyway). No special talent, no great use of the anamorphic screen (Cromoscope here). No specific direction of actors. Just plain average.

But it's not bad (in a Mattei way), it's always fun if you're into some 60's/70's sexploitation mood. (S)Exploitative indeed : the black stripper as an arty-sex show is ridiculously long and may seem infuriatingly mysoginistic today. Mizar's strip in Giuliano Carmineo's PERCHE QUELLE STARNE GOCCE SUL CORPO DI JENNIFER? avoids this trap by eing a victory over machismo. This is pure pre-giallo routine.

But you can't help looking at screen wondering how come someone like Carroll Baker made this in 1968 after HOW THE WEST WAS WON, CHEYENN AUTUMN or HARLOW.

Better stick to the Lenzi territory for some sexy-giallo stuff. COSI DOLCE...COSI PERVERSA is a really better choice.

Superwonderscope says : 5

Deborah and Marcel (Carroll Baker and Jean Sorel) are young and in love. We know this due to their shower scene, which may be the most awkward, passionless scene of its kind.

When Marcel learns of the tragic fate of his ex-mistress, Suzanne, we are treated to the "motorcycle / cow disaster" flashback sequence. Then, Marcel and Deborah hurry to Suzanne's decrepit villa, where Deborah receives a threatening phone call that couldn't possibly have been made.

THE SWEET BODY OF DEBORAH is a rather tame giallo. For her part, Ms. Baker is stunning, whether she's cutting a rug at the dance club in her green mini-skirt, or playing a game of lawn twister in one of her magnificent bodysuits!

Though it's drawn-out and convoluted, the wicked triple-twist finale makes it worth watching...

Considering the talent on display, it really has to be said that The Sweet Body of Deborah is something of a disappointment. The script is penned by Sergio Martino's long-time collaborator Ernesto Gastaldi (who put pen to paper on classics of the genre such as The Strange Vice of Mrs Wardh and The Case of the Scorpion's Tail), the director is Romolo Guerrieri, who also made the highly rated 'The Double', and it stars a trio of Giallo regulars; Carroll Baker (Lenzi's Kiss Me, Kill Me), George Hilton (The Strange Vice of Mrs Wardh) and Jean Sorel (Fulci's One on Top of the Other). There's also a producer's credit for Sergio Martino's brother and workmate, Luciano Martino. The Sweet Body of Deborah is a rather early Giallo as it was released prior to the boom of the subgenre in the early seventies, and so it's something of a front runner; which somewhat explains why the film doesn't stand up to best that the genre has to offer, although many directors; such as Mario Bava and Umberto Lenzi has already made successful films prior to the release of this one.

The plot is one of the film's strongpoint's, as a seemingly chance encounter between the central couple and a man who claims Jean Sorel murdered his girlfriend opens up into a twisted and complex tale of lust and greed. The major problem with the film stems from the handling, as although the twists and turns are well worked; there isn't a lot of suspense in the plot, and the film boils down to snail pace far too often. Furthermore, despite coming from soon to be esteemed Giallo cast members, the ensemble is rather flat and no one gives a particularly strong performance. The director does have an eye for detail, however, as the locations are stunning and Carroll Baker gets to don some of Giallo's most outrageous outfits. The film is typical of Ernesto Gastaldi in that there are a lot of twists and no one is ever quite what they seem. The climax is highly improbable and far too convoluted, but it's carried off well and director Guerrieri does a good job of presenting a number of twists in quick succession to ensure that the movie ends on a high. Overall, this isn't a classic of the genre; and Giallo fans can feel free to skip it, but I love a good twisted film and the ending really made it for me.

Carroll Baker made several excursions to Italy throughout the late 1960s and 1970s, notably a series of erotic gialli; this was the first of them and, though a rather inauspicious beginning, several that followed (even those made by other hands, such as Sergio Martino – actually serving on the film under review as Production Manager!) can be seen to have adhered pretty closely to the formula unveiled here. Though contributing to the low rating was the atrocious sound quality – which not only seemed to have inherent hiccups (whereby lines get repeated every so often) but the English dialogue track featured a few unaccountable 'intrusions' of Italian and French! – the movie itself is a mainly listless affair which contrives to wake up only during the last 20 minutes (with the expected bevy of improbable twists and turns)!! To be fair, I was drawn to this principally by the notable cast – which also includes Jean Sorel (who followed his career highpoint, Luis Bunuel's BELLE DE JOUR [1967], with a number of gialli: for the record, he and director Guerrieri would subsequently collaborate on the infinitely more rewarding THE DOUBLE [1971]) and, likewise all genre stalwarts, George Hilton (who eventually rose to protagonist status under Martino's guidance), Luigi Pistilli and Evelyn Stewart. To go back to the erotic theme at the core of these type of films (perhaps to make up for the frankly tedious plots), this first entry may have seemed pretty risqué at the time but certainly feels tame when compared to later examples (not necessarily those made by the group of people already mentioned).