Vacanze per un massacro

"Madness" or "Holiday Massacre" superficially looks like another umpteenth "Last House on the Left" rip-off, but actually it's not. LHotL and all of its copies revolve on two major themes, namely rape and revenge, whereas this flick doesn't feature any 'actual' rape and certainly not any revenge. This is merely a typical late 70's/early 80's sexploitation effort with a bit of additional violence near the ending. Joe Dallesandro, the handsome but slightly eccentric star of various Andy Warhol movies, stars as a badass fugitive convict in a very remote and rural area. He escapes from a prison that doesn't look like a prison and kills a farmer with a pitchfork. He has to pick up the loot from a previous heist in a countryside cabin, but the place is occupied by three people on a summer holiday weekend. Now, since this is an Italian exploitation thriller, it means that the "victims" are in fact equally sleazy and heinous as the criminal. Sergio is supposedly happily married with his wife Liliana, but has an affair with his nymphomaniac sister- in-law Paola. Paola herself is a genuine bitch on a continuous quest for lust and power. "Madness" is a competent but not highly memorable thriller. The plot is predictable and all too quickly reverts to clichéd situations and detestable conclusions. Women's right activists, in particular, should avoid this movie at all costs, since the script proudly concludes that women provoke being rape victims and end up enjoying it after all. The film does benefice, however, from the isolated cabin filming location. Fernando Di Leo perfectly manages to create an atmosphere of despair and inescapably. You can also almost sense the heat and sexual oppression through the screen. Di Leo is of course a very experienced and visionary director. He wrote and directed multiple downright brilliant crime/gangster movies "Manhunt", "Caliber 9" and "The Boss". Another strongpoint of the film is excellent soundtrack by Louis Bacalov. Recommended, but perhaps only if you're familiar with European – and then particularly Italian -exploitation from the late 70's and early 80's.

Escaped convict, Joe Brezzi (Joe Dallesandro) is on the run. Before the opening credits, he's already committed two murders. Brezzi arrives at a villa where a man and two women are staying. He watches, as copious nudity and love scenes take place. Joe takes a nap, awakens, and moves in on the trio.

We soon learn that Brezzi is a bit too familiar with this villa. He knows the place, and seems to be looking for something.

MADNESS is a preposterous crime / thriller, that's mostly an excuse for softcore, simulated sex scenes, interrupted by sudden, rather tame outbursts of violence. In between assaults, Brezzi spends most of his time grimacing and squinting a lot.

Be forewarned, much of the story is taken up by the family troubles of the three victims. In other words, this movie is pretty dull, in a soap opera sort of way. So, don't expect non-stop action or thrills.

The semi-bloody "shock" finale is okay, but hardly makes up for the rest of this nonsense...

A husband and wife (Gianni Macchia and Patrizia Behn) go to their country cottage along with the wife's younger, university-student sister (Lorraine DeSalle) with whom the husband is having a secret affair. They run into an escaped convict (Joe Dallesandro) who has hidden a cache of money in the cottage. The convict gets the upper-hand over the husband and holds the trio hostage, having his way with both of the women. It doesn't really end well for anybody.

Although it was directed by the respected Italian genre director Fernando DiLeo, this is actually an Italian "terror film",a sleazy and disreputable cycle films that involve lower-class cretins brutalizing, raping, and generally terrorizing wealthy bourgeois-type characters. These films were all indirectly influenced by the notorious American film "Last House on the Left", but the more proximate influence was no doubt other Italian films like "Late Night Trains" and "Hitchhike". These films differ somewhat from "Last House" and the American "rape-revenge" films in that they generally have a little less gory violence and trade more in humiliation and softcore sex. The victims in the Italian films are often unsympathetic hypocrites who might be as bad or even worse than their lower-class assailants. Most controversially, the (invariably sexy) female victims in these films almost always manage to develop a case of sexual Stockholm's syndrome either willingly having sex with one or more of their attackers, willingly having sex with one and getting raped by the others (a la "Straw Dogs"), or worst of all getting raped but ending up enjoying the experience.

Lorraine DeSalle plays the sexual Stockholm syndrome victim here. But she's such an amoral, grasping, nymphomaniacal character to begin with, who is willing to betray her sister and manipulate both of the men in any way necessary in order to get her own hands on the money, that her character doesn't come off as particularly offensive (just not very believable). The wife is a good character and the husband is OK (albeit totally unsympathetic). The real weak link is Joe Dallesandro, who plays the lone criminal (usually in "terror" films there's more than one criminal). This would have been FAR more effective if this role had been played by another American, David Hess, who was the villain in "Last House", "Hitchhike", and most notorious and harrowing Italian "terror" film, "House by the Edge of the Park". Former Warhol "superstar" Dallesandro though is much more of a male model than an actor and not very menacing (it's kind of like being held hostage by "Zoolander").

This is better than any of the Italian "terror" films except "Hitchhike" and "Late Night Trains" (but that's not much of a compliment). It's better made, but far less harrowing than "House by the Edge of the Park" (although the gorgeous DeSalle, who was in both films, somehow manages to have even more nude scenes in this one). It's not nearly as good though as any of DiLeo's police thrillers or his better sexy melodramas like "Being Twenty" and "The Seduction". I'd still recommend it I guess, but keep your expectations kind of low.

An escaped convict called Joe Brezzi (Joe Dallesandro) returns to the farmhouse where he stashed money from one of his robberies, but finds the farmhouse now occupied by a married couple (Gianni Macchia and Patrizia Behn) and the wife's sister (Lorraine DeSalle). This film from director Fernando Di Leo (which he co-wrote with Mario Gariazzo) was released in 1980 and is one of those hostages being held (and terrorised) by a madman films. It's essentially a four hander set largely in the farmhouse (you can imagine it as a kind of lurid play) and involving a bit of voyeurism (peeking through windows) and soft core porn scenes. Joe bounces around in a pair of jeans and a vest showing off his muscles and 'Little Joe's tattoo, whilst doing a manic eyed number. It all seems rather slow.

Paula and Sergio are married and own the small house in the mountains where they only travel to at weekends and Lillian is Paula's sister,who just happens to be having an affair with Sergio.Sergio is going hunting,Paula is going shopping and Lillian is staying home to sunbathe naked.Lillian puts on the radio and we hear a news report a thief and murderer who has escaped from jail and is on the loose after murdering farmer with a pitchfork.The criminal named Joe Brezy has stolen the car and is hiding near the house.He has buried 300million lira in the house(from the previous robbery).Joe takes the three of them hostage whilst he digs for his loot.When he finally gets his loot he plays Paula,Lillian and Sergio against each other telling Paula about the affair her husband and sister are having."Vacanze per Uno Massacre" is a cheaply made thriller highly influenced by rape and revenge sub-genre.Lorrainde de Selle provides lots of full-frontal nudity and the climax is violent and memorable.It's a crying shame that this nasty little tale of sexual tension is so obscure.8 out of 10.