La seduzione

The most important thing is that the seduction triangle functions on every part. Maurice Ronet (the man), Lisa Gastoni (the woman) and Graziella ("little grace" = Jenny Tamburi) are believable in their roles, with Gastoni really delivering a stunning performance, and Jenny Tamburi is, well, pretty and superficial. As she would be. It is a great twist that is at once the spurned woman but also a caring mother who worries about her daughter and just about a fellow woman suffering a broken heart.

In my opinion, this is not an Italian version of Lolita. Lolita the book is actually about the sexual exploitation of a girl. This is not the case here as Graziella is an active participant who is hopeful of getting one over her mother and thus emancipating herself.

NB the 15 years-old Graziella is played by the 21 years-old Tamburi.

La seduzione, directed by Fernando Di Leo, is an erotic thriller that explores the complexities of desire, passion, and the inevitable consequences of giving in to temptation. With a unique narrative and an intriguing cast of characters, the film captivates and challenges audiences, leaving a lasting impression.

The story centers on Giuseppe, a middle-aged man who returns to his native Sicily after a long absence. He reunites with his former lover, Caterina, a widow with a teenage daughter, Graziella. As Giuseppe and Caterina rekindle their romance, Graziella becomes infatuated with Giuseppe, leading to a series of events that are both intriguing and disturbing.

The film effectively captures the allure and intensity of forbidden desires. The characters' motivations and actions are driven by their longing for something they know is wrong, socially unacceptable, or even immoral. In this case, it's the attraction between a middle-aged man and a teenage girl, which is portrayed without apology or judgment.

While the film excels at portraying the complexities of human desire, it falls short in terms of character development. The audience is given only a glimpse into the characters' inner lives, making it challenging to fully invest in their journeys. The relationship between Giuseppe and Caterina, for example, feels rushed and lacks the depth needed to make their reunion truly compelling.

However, the film's strength lies in its exploration of the erotic. The seduction scenes, though clumsy at times, are charged with tension and a sense of impending doom. The audience is made keenly aware that this love affair cannot end well, adding a layer of intrigue to the story.

The visuals and audio are underwhelming, with soft and flat imagery that fails to fully immerse the viewer in the world of the film. However, the score, composed by Luis Bacalov, is a standout feature. It lilts and romances, adding a subtle layer of emotion to the story.

Overall, La seduzione is a unique and intriguing film. It embraces its eroticism and tackles a complex, often controversial, subject matter head-on. While it may not be a masterpiece in terms of character development or technical prowess, it leaves a lasting impression and offers a fascinating glimpse into the darker side of human desire.

Before I attended the Italian B-movie retrospective held during the 2004 Venice Film Festival, I had never even heard of Fernando Di Leo - let alone watched any of his films! Now, less than 2 years later, I have 8 of them under my belt (this was followed by yet another of his poliziotteschi, KIDNAP SYNDICATE [1975]) and I've been sufficiently impressed to consider ordering some of Di Leo's work via the R2 Raro Video SE DVDs...

The films of his that I've watched so far seem to fall into two categories: sociological pieces, albeit with erotic overtones - NAKED VIOLENCE (1969), SEDUCTION itself and TO BE TWENTY (1978) - and crime dramas - CALIBRE 9 (1972; which I consider his masterpiece), THE Italian CONNECTION (1972), WIPEOUT! (1973), KIDNAP SYNDICATE and THE RULERS OF THE CITY (1976). Almost all, however, featured heavy doses of comedy (including, in the scenes featuring the slick but foolhardy womanizer played by Pino Caruso, the film under review here) which came perilously close to the vulgar style prevalent in low-brow Italian comedies of the 70s and 80s. However, this was more than made up for by Di Leo's dynamic handling - particularly the rhythm of his editing - which, despite its necessarily talky and intimate nature, is also very much in evidence in LA SEDUZIONE.

It appears that ever since Pietro Germi made Sicily a den of promiscuity and infidelity in his classic, award-winning black comedy DIVORCE - Italian STYLE (1961), Italy's small neighboring island has served as backdrop for most other similarly-plotted ventures - and Di Leo's film, arguably one of the best of its type, is no exception. As a matter of fact, it's elevated above the norm by the excellent performances of its three leads - Lisa Gastoni (I wasn't aware that she had appeared in quite a few British films during the 50s!), Maurice Ronet (a fixture of 60s French cinema, he admirably tackles his difficult role here) and Italian B-movie starlet Jenny Tamburi (stepping in for Ornella Muti and who, incidentally, died at age 53 only days before the film's belated TV premiere last March!) - as well as a remarkable and eclectic score by the award-winning Luis Bacalov (who composed 11 films and even a TV mini-series for Di Leo!).

As for the film's erotic content, it's generally sensitively handled - though some may simply view it as exploitative - with both its female stars appearing several times in the nude...though Tamburi's leap from dutiful schoolgirl to teenage temptress feels too abrupt: she starts by eavesdropping on her mother's love-making but promptly proceeds to seduce Ronet herself, even by way of some lesbian cuddling (while dancing a tango in drag!) with her best friend. The latter (played by Barbara Marzano), then, features in the delicious twist ending and, indeed, the film's concluding section (following some rather repetitive squabbling between Ronet and Gastoni over what she believes to be the former's sick abuse of her daughter), leading up to the inevitable tragic curtain, is terrific.

A middle-age man (Maurice Ronet) returns from France to his hometown in Sicily where he begins an affair with his former sweetheart (Lisa Gastoni), who is now a widow. He just can't resist the women's teenage daughter, however (or the daughter's curious best friend). Although this was based on an Italian novel called "Graziella", it is obviously also very much modeled after the classic Vladimir Nabokov novel "Lolita", even containing a variation on the sofa seduction that has been left out of both of the prudish Americ adaptations of that novel. Of course, this movie stacks the deck quite a bit by casting a very ripe Jenny Tamburi as the "fifteen-year-old girl". In accompanying documentary, director Ferdinand DiLeo tries to make a distinction between what he calls "Lolita-ism" and pedophilia, but whether you buy this dubious argument or not, you'd have to agree that ANY man of ANY age is going to be attracted to the then 20-year-old Jenny Tamburi.

DiLeo is becoming a respected director due to his back catalogue of gialli and poliziani movies, but he is a little out of his element here with a more subtle movie based on dramatic relationships. The movie looks visually great like all DiLeo films, but the script requires the characters to act in ways no human being (especially no hot-headed Sicilian human being)probably would. The movie is redeemed a lot though by great acting: Maurice Ronet makes his slimy character a lot more sympathetic and likable than he should be. Lisa Gastoni is good in a brave role that not only requires her to bare her body, but also to bare her soul as an aging beauty passed over for her fresher daughter. Amazingly, Ornella Muti was originally slated for the part of the daughter, but Gastoni vetoed it because she thought Muti was too pretty. This makes no sense for many reasons, not the least of which is that her replacement Tamburi was a long way (a long, LONG way) from being unattractive. Still it was a good decision because Tamburi was the better actress at the time even though she didn't go to have the long, illustrious career Muti did.

This is good adaptation of the Lolita story being neither as ridiculously circumspect as the two official American versions nor as borderline pedophilic as the many unofficial French ones ("Beau Pere", "One Wild Moment"etc.). Recommended