Nelle pieghe della carne

Adrian Luther Smith, writer of the 'Giallo Bible' Blood and Black Lace describes this film as a "trash masterpiece" - and I pretty much agree with him! The film is sometimes labelled as a Giallo, although for me it fits more into the exploitation genre as although there is some murder mystery, it's clear that director Sergio Bergonzelli was much keen on delivering as much sleaze as possible! The director also ensures that the film feels rather arty, and this makes In the Folds of Flesh even more of a gem, as the locations offset the frankly ridiculous story brilliantly! The plot is overly convoluted (to say the least), and focuses on the residents of an old castle. An escaped convict witnesses a woman burying her husband by a statue in the back garden. We then move to thirteen years later. A couple of unwelcome visitors stop by and are promptly killed by two of the younger castle residents. Then the escaped convict turns up and begins demanding money to stop him going to the police and reporting the body in the garden...another murder and a police investigation ensue.

The film can be described as a hodgepodge of popular Italian exports. We've got a light Giallo tone, as well as an exploitation theme; and then there are also mentions of Nazi's and ancient skeletons. Naturally, all the women are very nice to look at; and while the acting from Eleonora Rossi Drago and Pier Angeli isn't great; it hardly matters as they deliver the performances required of them. The best thing about this film is the way that Sergio Bergonzelli constantly chucks in another twist to make the already questionable plot more ridiculous at every opportunity. The film is also rather nasty, and features a whole host of gruesome morsels - including the aforementioned murders, an acid bath and a plethora of decapitations! (The director obviously loves them...). It has to be said that In the Folds of Flesh falls down in some areas - there's no sex or nudity, and by the time you get to the end; it all feels rather pointless as it's impossible to care about the fates of any of the characters. Still, this is certainly a film worth seeing and I don't regret wasting ninety minutes of my life on it!

'In The Folds of the Flesh' is Spanish/Italian Giallo flick from 1970 that is completely outrageous and over the top with its rather convoluted storyline, non-stop plot twists and cool psychedelic visuals that will keep you entertained and confused throughout its quick paced runtime. The movie is a bizarre experience that doesn't make a whole lot of sense, but it's a rather fascinating oddity that you'd have to see for yourself.

The plot takes place at a villa that is run by a woman named Lucille (Eleonora Rossi), her son Andre (Alfredo Mayo) & another woman named Falesse (Pier Angeli) where guests turn up only to get killed by their hosts.

That above is probably the best way to try and describe this plot without giving away any spoilers as there's a lot thrown at you in its 82 minute runtime. The opening sequence was very confusing as you don't know what the hell is going on or who these people are as the movie takes its time establishing things and that's one of the main problems of this movie, its narrative structure is very lacking and the over reliance on shock value and twists is nonsensical at best. But there are plenty of fun moments in this flick to enjoy such as the violent murder set pieces, the decent cast and plenty of outlandish and strange visuals that are pleasing to the eye. But other than that this movie is definitely style over substance.

The performances are melodramatic but decent with Eleonora Rossi providing a decent screen presence and plenty of intriguing character moments. Alfredo Mayo gives a fun and over the top performance that suits the production quite well and Pier Angeli gives a wonderfully strange and hammy performance as the disturbed Falesse and a definite standout. Fernando Sancho was also solid and looked the part in his role.

Overall 'In The Folds of the Flesh' is not a great film by any means, but it's directed with enough visual flair to at least be entertaining.

This movie is completely over the top! Why and how it escaped getting played around the world, on the midnight circuit, is beyond me. It's like someone made a soup out of a Spanish Soap Opera, a Giallo, Gothic Thriller, and a Film Noir... It's loaded with ridiculous double crosses, kinky incest (is it incest?), countless decapitations, pet vultures, plot twists that make little to no sense, random Freudian Psychology, and extraneous WWII Concentration Camp flashbacks! The score is over-dramatic, as is the acting, and just about everything else. It certainly can't be taken seriously, but that's what's so appealing. Don't be fooled though, if it's the Classic Bava, Martino or Argento-esque formula you're looking for, that's not what you'll get. Despite that it is often listed and cited as a Giallo. This movie came out in 1970, when the genre was just beginning to take root, so while it's certainly got all of the necessary elements to be classified as 'Gialli', the elements are scattered, appearing in different places in the plot than is common to the traditional Giallo formula. That said, it could be of interest to hardcore fans in that respect. That's how I came upon it, and I'm not upset. Think something along the lines of Luciano Ercoli's "Forbidden Photos of a Lady Above Suspicion" or even Lucio Fulci's "Perversion Story," only much more ridiculous! Wonderfully ridiculous, psychedelic and melodramatic. Wow.

Italian gialli are famous for their ridiculously complicated (and frequently absurd plots)and their "pop", late 60's pseudo-Freudian psychology. This movie though pushes both of these to the most extreme limits. The basic plot here involves a rather dysfunctional family consisting of a trouble woman (Pier Angeli), her governess, and her governess' equally troubled son all of whom may have been involved in the murder/disappearance of the family patriarch. Several different people show up and try to blackmail them for money and sex and wind up being killed in ways that are both gruesome (lots of decapitations)and increasingly ridiculous (there's a rather tasteless subplot involving Nazi gas chambers). The finale involves several sudden twists, each more preposterous than the last. There are several quotes from Freud in intertitles (complete with English-language misspellings) and the usual liberal sprinkling of sexual psychopathology--incest, Elektra and Oedipal complexes, borderline pedophilia, etc. This movie will probably confound newcomers to the giallo film, but people more familiar with the genre will no doubt appreciate it.

Pier Angeli is especially good in a dual role, or actually a triple role considering that she plays one of the characters as both an adult woman and an adolescent girl (the latter no mean feat considering the actress was in her late 30's at the time). Tragically, she would commit suicide not longer after this movie came out. The co-writer Mario Caiano would direct the very similar "Eye in the Labyrinth" and, not surprisingly, some of the other people behind the camera were later involved in the indefensibly trash Italian Nazi sexploitation cycle.

Oh, and by the way, the title "In the Folds of Flesh" actually refers to the folds in the brain, not what some of you dirty-minded folks out there might think.

Well there's a homicidal 35 year old woman (I think they're trying to pass her off as 20-something and it really does not work out) and she's completely mentally incompetent. She has an incestuous relationship with her artistic brother, and while the mother looks continually disapproving she just allows all of the murder and mayhem to go on, even bothering to clean up the bodies for her kids. And as I've pointed out, she must have had her daughter when she was 9, because she can't be more than ten years older than the murderous loony in the blonde wig.

There are hints of giallo in the flashbacks and the death of the father at sea, but I do not consider this a giallo at all. It's some weird cult film from the late 1960s that took a bunch of ideas and threw them together in a salad of shame. It kind of reminds me of how The House of Exorcism is an inferior version of Lisa and the Devil. I honestly wish there was a coherent, superior version of In the Folds of the Flesh in the same manner of the ludicrous House of Exorcism, but I guess this is it.