Anima persa

Amina persa is sometimes considered to be a Giallo by cult fans; in my opinion, it isn't although there are shades of the genre thrown in. The film is more along the lines of a Gothic mystery and reminded me a lot of the classic Spanish film The House That Screamed. Amina persa is a very high quality film; the acting and production values are superb, and while the script can go a little over the top at times - the whole thing comes off very well and the film could easily go toe-to-toe with any art house flick. Like Nicholas Roeg's earlier classic, Don't Look Now, this film takes place in Venice. We focus on a young man named Tino who is taking an art class in the city and goes to stay with his aunt and uncle that live there. It soon becomes apparent that all is not quite right with the pair, and the mystery deepens as the young man begins hearing strange noises at night. It's not long before he considers the out of bounds staircase and the room at the top of it, and discovers that in fact there is someone else living upstairs...but that is only the start of the shocking revelations.

The film is very slow build, but director Dino Riso keeps things interesting thanks to the tension emanating from the three central characters. Contrary to the pace of the film, the first twist is revealed very early as we discover the identity of the person living in the 'forbidden room' upstairs, but the film has much more than just that up it's sleeve and the revelations get more interesting as the film moves along. Amina persa is bolstered by a trio of great performances from its lead stars. Vittorio Gassman is excellent as the imposing uncle, while the beautiful Catherine Deneuve is convincing as the melancholy aunt. The central cast is rounded off by Danilo Mattei, who is good in the lead role though is overwhelmed a bit by the two more experienced performers. The atmosphere of the film is fantastic and without doubt one of it's strongest elements; the house in which everything takes place cuts an imposing figure and provides an excellent location. The final twist does become obvious just before it happens, but the film keeps it's cards close to it's chest up until that point and overall; this is a fantastic mystery horror film and comes highly recommended (if you can find it!)

i had heard about this flick,as a giallo & i liked the previous collaboration of Risi/Gassman in "Profumo Di Donna", so i was curious to watch this "anima persa".

even though this movie is't a gaillo at all,(it doesn't have typical giallo's elements), but it could be classified as a decent horror film. it's impossible for the viewer to forget a major thing : Gassman' penetrating eyes! (what a good actor he is) & he definitely steals the movie.

it could be predictable after the half,that what's going on , but this movie is entertaining to watch.

I ended up watching this movie after reading the book from which it was adapted, written by Giovanni Arpino. Adapted by Bernardino Zapponi and enriched with some aspects, it has not lost the charm of the novel. The director did an excellent job. Halfway between gothic and dramatic, it gradually reveals its cards, leading the viewer towards the end. A film almost forgotten today but that deserves to be seen, also for the interpretation of its protagonists. The great scenic couple formed by Vittorio Gassman and Catherine Deneuve is impressive. Anicée Anlvina also intrigued me. An Italian film that deserves a chance, of that I am more than sure.

Stunning cinematography, beautiful 70's aesthetic, charismatic actors and a sad/twisted Gothic story. That's enough to make any cinephile invest in this movie and watch it pleasantly. Gassman is imposing, commanding the screen. Deneuve is not just a beautiful face but a great actress, too. Of course, it's a flawed movie. If you think it through, story doesn't make much sense, plot has many holes. But it's a 70's mystery movie, they didn't care much back then for realism and verisimilitude, focusing on other aspects of film making. And they did fine because 70's cinema is among the best cinematic decades ever, if not the best.

Keep in mind though, this is more mystery than horror. You don't watch movies like this in order to get scared. Sit back and enjoy the show. Although, in the end, it's not that" "enjoyable", more like sad and heart breaking.

This Italian-French co-production could easily be thrown into the Italian giallo genre of the time, but it is really a pretty unique film that differs from other films in that genre in several major respects. First off, it is much more of a big-budget, arty affair with big-name actors like Vittorio Gassman and Catherine Deneuve, and a director who had just come off a big international art-house success with "Profuma di Donna" (the original Italian version of "Scent of a Woman" which also featured Gassman). It's also much more obscure than most giallo and was never clumsily dubbed into English. Mostly though it has a plot that actually makes sense and it develops slowly and subtly--quite a contrast from the hysterical tone and overwrought style of most gialli.

A naive young man studying art in Venice comes to stay with distant relatives, an elderly uncle (Gassman) and a somewhat younger aunt (Deneuve). In "Jane Eyre" fashion he discovers that his uncle is apparently keeping his insane brother in a secret room in an attic. His curiosity is piqued and he begins to investigate with his new artist model/girlfriend (Alcinee Alvina), and quickly discovers that all is not as it seems with his mysterious relatives.

You have to have a little patience with this film (especially if you're expecting a typical giallo). The atmosphere builds up slowly, but ultimately quite effectively. There is no graphic violence at all and no sex (aside from a memorable nude scene from the gorgeous Alvina). The final revelations at the end though are as perverse and disturbing as anything you'll find in any other giallo, with intimations of child abuse, incest, and the dual nature of man. Without giving too much away, this movie ends up being one of the best, most faithful adaptations of a certain classic story by R.L. Stevenson that I've seen. It's very hard to find, but find it.