Inocente asesina

You all can read the plot summary from IMDb, so I won't write about it.

I got my hands on the DVD of "Olivia" yesterday. DVD cover didn't look great, more like erotic b-film, but WOW! The film runs only 1 h 20 minutes but many things happens during the film, and you won't be bored. There is something for everybody; romance, thrill, erotic and murders. Does that sound awesome combination? Maybe not, but in this film it is.

It looks like a big Hollywood studio film from the end of 1970's, but it was actually made with budget of $500,000. I have to admit that there are few moments when you can see that it was made with small budget, but it doesn't bother watching.

A must see for people who likes to see erotic thriller, but also for the IMDb users here who says that Lommel hasn't done any good film.

This is incredible.

I like Ulli Lommel's film The Bogey Man so much that I have 3 different copies of it; I even have 2 of it's poor sequel. I also collect many of the 88 Films releases, so when this came out I just had to buy it. The British blu ray comes with an enticing cover (film is entitled Prozzie) and is part of 88's Slasher Classics Collection. This, however, is NOT a slasher movie, much more a psychological thriller with a bit of sex and horror thrown in. I prefer the first half of the film, which is set in London. It's pretty dark and has a few Lommel touches reminiscent of The Bogey Man. But when the action moves to Arizona the plot becomes pretty silly & unbelievable. This film grew on me after a second viewing, so I'm glad I hung on to my Blu Ray copy as I had contemplated selling it.

My review was written in March 1983 after a screening in the Bronx.

Filmed half in London and half in Arizona in 1981 with the shooting title "Faces of Fear", "A Taste of Sin" is an effective psychological horror thriller from prolific Germany-to-U;S. Filmmaker Uli Lommel. Biggest treat her for film buffs and horror fans is Lommel's equal-time raiding of not merely the works of Alfred Hitchcock, but also the Hitchcock-derived thrillers of Brian DePalma.

Prior to its present (tacked-on to suit a sex-themed ad campaign) moniker, picture bore a series of better titles: "Beyond the Bridge", "Double Jeopardy" and "Olivia".

Opening (culled from Hitchcock's "Marnie") has 6-year-old Olivia (Amy Robinson) watching (through a keyhole) her British prostitute mother servicing a G. I. who's into bondage. She helplessly sees her mom killed by the G. I. Fifteen years later, Olivia (played as an adult by Suzanna Love, star of all even of Lommel's U. S.-made pics) has a British husband Richard (Jeff Winchester), and dresses up at night to relive her mom's experience as a streetwalker near London Bridge. Controlled by her (imagined) mom's voice from beyond the grave, she starts killing her customers while being wracked with guilt for not coming to mom's aid versus the G. I. Olivia falls in love with Michael Grant (Robert Walker), an American working on a project to restore the bridge. In a fight with Richard over her that takes place on the bridge, Grant is victorious, and Richard ends up hurtling into the water below.

With the film half over, scene shifts to Arizona four years later where London Bridge has been transplanted (along with its fatalistic associations for the lead characters). Grant finds Olivia working as a condominium saleslady using a new name (Jenny) and with a new mousy appearance and American accent. Suspenseful plot twists (and red herrings) involve lifts from "Vertigo", "Obsession", "Sisters","Psycho" -you name it.

Though this type of derivative filmmaking is hotgly criticized these dys (with DePalma perhaps the number one whipping boy), Lommel plays it straight and comes up with an entertaining B picture. He obviously enjoys the Hitchcock association, even casting Vera Miles from "Psycho" in his next film "Brainwave" (opposite Tony Curtis instead of Janet Leigh) and recalling Walker (son of "Strangers on a Train" namesake and near lookalike) for the lead in "Devonsville Terror".

Suzanna Love is quite impressive in the chameleon lead role, calling for at least three distinct personalities. Walker, still looking boyish at age 40, is an empathetic hero, though one keeps expecting him to become sinister, given Hitchcok's switcheroo casting of his dad 30 years earlier. Joel Goldsmith's synthesizer music score is effective, but the film is hampered by drab would-be film noir visuals, for which five cinematographers are credited.

"Olivia," also known under a variety of other salacious titles, such as "Prozzie" and "A Taste of Sin," follows Michael Grant, an American engineer in London who is helping dismantle the London Bridge. He meets and falls in love with Olivia, a woman haunted by her prostitute mother's murder, and who herself is in an abusive relationship. When Michael attempts to fight off Olivia's husband one night, it ends in tragedy. Four years later, in Lake Havasu, Arizona, where the London Bridge has been relocated, Michael encounters Olivia's apparent doppelgänger, a local tourism ambassador named Jenny, who claims she has never met him.

This offbeat entry in Ulli Lommel's early filmography is certainly an anomaly--it is not so much a horror film as it is a psychological thriller, though it is, as is the case with most of Lommel's work, preoccupied with themes of childhood trauma, particularly children's exposure to their parents' sex lives. The titular character, Olivia, is haunted by her mother's death, and begins slipping between identities, at times living out a secret life as a prostitute--just like her mom. The film toys with Olivia's psychological state, suggesting early on that she may be a Norman Bates-like character prone to dispatching men, but she remains no less sympathetically portrayed by Suzanna Love.

The second half of the film marks a major tonal shift, moving the setting from dreary London to the sunny Arizona desert, where Olivia--or at least someone who resembles her--resurfaces to haunt Michael. In a way, the extreme contrast between the two locales makes the film feel like two different movies, though this is perhaps part of the point. In any case, both sections of the film have their own stark atmospheres, and there are a number of haunting visuals throughout.

While the plot is at times rather ridiculous, there is still something oddly charming and entertaining about "Olivia." The film teeters between character study and full-blown psychological thriller, only occasionally dipping its toe into the horror pool. It is really more a meditation on childhood trauma than anything else, and it ultimately unravels into a perverse but engrossing love story-turned-tragedy. It is worthwhile for its visuals and at times otherworldly atmosphere, as well as its astute representation of a broken woman. 7/10.

I saw this for the first time recently n I still cannot fathom why I got pulled into seeing this. It's not a bad film but erotic dramas n thrillers ain't my cup of tea. Nevertheless, the lead actress' beautiful face kept me going. Suzanna Love was truly attractive n her brief nudity was an icing on the cake. Plot wise it is a bit far fetched but some scenes r pretty atmospheric. I really wanted to know how the husband survived n how he tracked her down. Also did she purposely migrate to Arizona so that she can bump into her lover.