Satánicamente tuya

George (Alain Delon) awakens in a hospital. It seems he was in a bad traffic accident and nearly died. His wife, Christiane (Senta Berger), was apparently unhurt. After a long recovery, he is sent home to his mansion--a place he doesn't recognize. In fact, he doesn't really recognize his wife! What gives? Was the accident THAT bad or is something going else afoot? Unfortunately, the more he starts to remember, the more his life might be in danger! Which isn't a surprise, since the film is entitled "Diabolically Yours"!

This film directed by Julien Duvivier is one giant mind game--on both George and the audience! All during the picture, like George, you are wondering what's really happening and who can be trusted. I like this sort of paranoid film--and it kept me guessing, that's for sure. And, considering how few films manage to do this to the viewers, I really appreciated this film. Interestingly, the film could have worked well either way--that George really is crazy or that some bizarre conspiracy is occurring. Either way, the film is great and I strongly recommend you see it. And, based on its IMDb score, I'd say this was was underrated.

By the way, this film has some similarities to the Hollywood B-movie "My Name is Julia Ross" as well as an earlier Delon film, "Joy House"--both are also well worth seeing.

The movie begins with a car crash.Soon after,Duvivier would die in a car crash too.It was the second time he 'd experimented color and

directed Alain Delon (who was part of the cast of "le devil and the ten commandments",a film made up of sketches ,Duvivier's forte.) Julien Duvivier is my all-time favorite French director .His career encompasses the silent era,the glorious thirties when he produced one masterpiece a year ,an American era in the forties.In the fifties he 's best remembered for his "Don Camillo" saga but one should not forget his films noirs extraordinaire ("Sous le ciel de Paris" and "Voici le temps des assassins").Then there was the nouvelle vague which was always putting him down.Delon reportedly said he'd suffered from their contempt.He shouldn't have bothered:he's better than any of them.And Claude Chabrol is certainly his psychic son as he is Hitchcock's or Clouzot's.

"Diaboliquement votre" is a poor swansong though.Duvivier's indomitable pessimism can be felt when he denies (and it's not the first time:almost all Duvivier works have a bitter end)the audience the de rigueur happy end ,but his magic touch is almost absent here.Delon portrays a framed man :a distant relative of George Peppard in Jack Smight's "the third day" (1966) and Tom Berenger in "shattered",his wife (Senta Berger)refuses to give herself to him after a car crash.But is she really his wife?And what about these strange voices he can hear at night?This shady doctor who calls him his friend?This Chinese servant?This kind of screenplay needs talented writers ,like Boileau-Narcejac ("Diabolique" "Vertigo" ) ,Frédéric Dard ("Toi le venin") or John Dickson Carr whose " burning court" Duvivier had transferred to the screen in 1962.Louis Thomas whose book I've not read is not in the same league.His tricks are roughly done:the tape recorder,the dog,the trap door..All the plot seems to sink into the pool of the desirable mansion.

Delon's presence,Berger's beauty and a nice cinematography make the movie watchable.But Duvivier had done so much so much better that I urge French movies buffs to see his finest works,which Orson Welles himself admired.

One never knows the truth of this thriller until it nearly ends, even when it is already over everyone is free to imagine the fate of the survivors. A person, supposedly George Campos (Alain Delon), had an a car accident and is hospitalized for a while. When he recovered his conscience he does not recognize his wife Christiane (Senta Berger), his friend Freddie (a psychiatrist) and all his properties. In that situation he acknowledged the beautifulness of his wife and decided to have sex with her, but she always unreasonably prevented it. Time passed and slowly George Campos remembered his real name, Pierre Lagrange. The psychiatrist warned him that he himself is G. Campo, but the latter had already no doubt of being poor ex-soldier Lagrange. One of the reasons was that his supposedly dog did not ever recognize him. He decided not to take anymore the recommended pills and discovered all truth. Among the thrillers in the French cinema this is perhaps one of its best.

For his last movie, Julien Duvivier invites Alain Delon, Senta Berger, and... color! This astonishing film is truly dazzling by the beauty of its plans and by its light. Too bad Duvivier didn't have the chance to make more color films.. True to his habit, the talented Duvivier leads us by the nose in a story full of pretenses, lies and manipulations. The beauty of the actors and the sets sharply contrasts with the unhealthy relationships between the characters ... An absolute must see!

"Diabolically Yours" from 1967 is a derivative film with parts of Gaslight, Vertigo, Diabolique, take your pick. Directed by Julian Duvivier, who would die in a car accident shortly after this film was made, the film stars Alain Delon and Senta Berger.

Alain Delon wakes up from a three-week coma after a car accident, and he can't remember anything, not even this gorgeous woman who claims to be his wife Christiane (Berger).

Apparently, he is a wealthy businessman named Georges Campo. He is brought to his palatial estate to recover, and he's mighty impressed. There's a doctor there (Sergio Fantoni) and a mysterious servant named Kim (Peter Mosbacher).

It doesn't take Georges long to become suspicious of the whole setup. His wife won't have sex with him which for me is the most ludicrous part of the film, since it's Alain Delon we're talking about.

The name Pierre Lagrange keeps going through his head, and he comes to believe he's a prisoner in the house and part of some plot. Voices in the night tell him he's going crazy and to kill himself, and his dreams are disturbing.

The film keeps us in the dark as we wonder about Christiane's weird relationship with the servant, and just what the doctor's role is.

Despite what you might guess as the film continues, it's actually quite intriguing. Both Delon and Berger are at the height of their eye-popping beauty.

Delon brings humor to the role, as well as playing a confused but determined man. When Chistiane brings a decorator to the house, Delon playfully follows him around, mimicking the man's gait.

Berger looks very sixties with her hair and fashions, looking like the ultimate '60s fashion model, chosen for her beauty. Today she remains not only a beautiful woman, but an incredibly accomplished actress and producer.

The end of the movie won't be to everyone's taste. It wasn't mine.

There is a lot to enjoy here, including the cinematography. In the end, it's a disjointed film but watchable.