Poseídas del demonio (el perfume de la señora de negro)

Sylvia (Mimsy Farmer), an industrial scientist, is troubled by strange hallucinations related to the tragic suicide of her mother.

After the success of "Rosemary's Baby" (1968), the Italian horror world began to embrace Satanic and occult stories. This is one of them. Director Francesco Barilli took a cue from early Argento and made a giallo with some dark undertones. He previously wrote a script for Umberto Lenzi, but had not directed a feature himself.

The cast may not be well-known outside of Italy, but have appeared in Lenzi, Argento and D'Amato films. One even appeared in the notorious "Salo", and a few starred alongside Daria Nicolodi in a picture. So there is plenty of connection here.

This film is beautifully shot with excellent color and better than average acting. It deserves more recognition than it gets. Wikipedia and IMDb are relatively silent on the film's creation, and even Italian horror historian Luca Palmerini has little more than a sentence to say about it in his book...

"Beautiful" and "stylish" are naturally two words that automatically come to mind when describing this odd, dreamy, haunting movie. It's definitely not the typical "giallo", as it's not so much about being a murder mystery as it is being a character profile and a "Repulsion" style story of one young woman's mental decline. Lovely Mimsy Farmer is the woman in question, Silvia Hacherman, a chemist with an unhappy past who begins to see things that she can't make sense of. She doesn't know if she can even trust the people who are part of her life, from her would-be boyfriend Roberto (Maurizio Bonuglia) to another friend, Andy (Jho Jhenkins) to her subtly creepy neighbour Mr. Rossetti (Mario Scaccia). Just who is the strange Woman in Black that Silvia sees in her mirror? Or the equally off putting little girl (Lara Wendel) who insists on being part of her life? Right from the start, "The Perfume of the Lady in Black" promises to be an interesting trip, accompanied by a wonderful music score composed by Nicola Piovani. The look of the movie always helps, also, in insuring that one wants to keep watching even though there are parts of the story that drag. Those viewers expecting more traditional thrills will have to wait until the very end for some juicy bits of gore (that actually seem out of place amidst the low key nature of the rest of the movie). Co- writer / director Francesco Barilli (who wrote the movie with Massimo D'Avak, whose credits include "Who Saw Her Die?" and "The Man from the Deep River") keeps us, along with his main character, off balance with his deft balancing of real and fantastical elements. By the time that his movie is over, it may well have provoked more questions than provided answers, but I agree with others that by this very nature this becomes a highly intriguing if not entirely successful psychological thriller, made at a time when that phrase hadn't yet been introduced into the lexicon. It certainly leaves the viewer to think about what they've seen afterwards. It's good material that is worth a look for adventurous fans of Italian cinema. Seven out of 10.

It's hard to review gialli that deviate from the normal formula, because if you compare that film to a similar film, you're revealing some of the surprises of the plot. It's okay to compare, say, Strip Nude For Your Killer with Blood and Black Lace, because most people go into these film expecting a gloved or masked mysterious killer and plenty of suspects, but when that's all thrown out of the window, things become difficult. I avoided reading anything about The House With The Laughing Windows for years, and was glad I did so when I finally watched it. I'd recommend doing the same with this film.

The Perfume of the Lady In Black is a strong contender for best looking Giallo ever, as the characters inhabit a world not only of strong primary colours (blue being a prominent colour in everyone's apartments), but also a world where various hues and shades of purple and pink are in abundance. There's also a strong floral theme to both the decoration of apartments and people clothes, with at least one of the characters also having a floral name. Stuffed animals and taxidermy also feature everywhere, and a lot of the time the shots are invaded by outside light sources, like lightening, or a flashing sign. It very much looks like a Peter Greenaway film, only without the OCD.

Silvia, seemingly, has had a pretty rough childhood, with her Naval father often away for months at a time, and her mother having an affair with a nasty looking man who also tries to it on with her. We learn this not so much as flashbacks, but as real physical things happening right in front of Silvia's eyes. Something strange is happening to Silvia, but what could it be?

What doesn't help is when her neighbours talk her into having her palm read by a blind medium in a scene that uses mirrors to great effect. Silvia's troubled childhood comes to light and things start to spiral out of control when she's apparently visited by herself as a child! Things get stranger and stranger, and reality becomes questionable, and I'm only skirting around a lot of the stuff that goes on here to avoid ruining it for the three or so people who'll read this on the IMDB over the next sixty years.

One thing I will say is that not every question is answered by the end of the film, but I think that might have been deliberate. The end of this one makes you question everything that's gone before it, and even question reality in itself. That's not to say it's not without scares either. Or gore. So stick around for that too.

The Perfume of the Lady in Black (Francesco Barilli 1974) is a beautiful and fascinating film. Like a previous reviewer, it took me 2 projections before I could fully grasp what Barilli had wanted to do and mostly accomplished with this film.

The problem comes from the fact that this if often advertised as a Dario Argento-like Giallo, and it's anything but that. While it's easy to see the visual and atmospheric influence this film had on Argento, The Perfume is much closer to an Antonioni film than it is to other Italian scare flicks. Watch it with this approach in mind and you will be literally hypnotized.

Kudos to the main actress who delivers a great performance in a role that had no precise definition on paper!

Upon first viewing, I did not know what to make of this movie. It is certainly interesting, but non-linear and difficult to understand. "What is going on?" I thought. A second viewing made it clear to me: this really is a near-masterpiece of giallo/thriller-cinema! From the haunting melody during the titles until the totally surprising and shocking ending, you will be mesmerized, confounded and thrilled. Mimsy Farmer walks around in semi-interested fashion for most of the time, but that is very much in tune with the whole story. A highly effective performance. The other castmembers are adequate, nothing more. Beautifully and imaginatively directed by Barilli who holds you attention even during scenes that could easily have been boring in their complete uneventfulness. And most scenes are accompanied by one of the most effective scores in a giallo ever heard. Properly marketed and aimed at the right audience, this film could be a future cultfavorite. A must-see for the adventurous moviegoer!