Orgasmo

This Italian/French co-production was the first of four collaborations between Hollywood star Carroll Baker (Baby Doll) and director Umberto Lenzi (Cannibal Ferox), and gave Baker a second chance at stardom after work had begun to dry up stateside. Here she plays Catherine, an American widow whose oil tycoon husband has recently died in a road accident (leaving her $200 million richer). She decides to relocate to Italy, where she meets a younger man named Peter (Lou Castel), also an American. The two soon become lovers. Their relationship is volatile but passionate and Peter moves into Catherine's luxurious villa. A short while later Catherine is surprised by the arrival of Peter's attractive sister, Eva (Colette Descombes). However, she likes having the youngsters around and Eva moves into the villa as well. But the initial fun turns into a physically and sexually abusive three-way relationship, one that sees Catherine's existing drink problem compounded by a forced addiction to drugs. Realising she is now a prisoner in her own home she tries to retake control of her life and escape.

This is often referred to as a giallo, although it doesn't really fit the term as we use it today (there's no mysterious, faceless stalker, no bloody injury, no string of people being bumped-off - in fact there are no deaths at all until well into the third act). It's better watched as a psychological thriller. The performances of the three leads (plus Tino Carraro as Catherine's lawyer) are all good, but the story is pretty unoriginal. It also paints Catherine as pretty annoying, even unpleasant at times, leaving it hard to care what happens to her. Credit though for an double-whammy ending that I never saw coming. Some topless and rear nudity and very softcore sex. 6/10.

This is another prime example of why alternate titles, especially for late 60's and 70's European thrillers, create a lot of confusion and – to some people – even aversion. Not only did Umberto Lenzi direct two films called "Paranoia" in the short span of just two years (moreover starring the same lead actress), but also how do these two titles possibly relate to each other? Paranoia and Orgasm? What the hell is the connection? I can easily imagine that certain types of audiences will pass simply because they fear that the film will just be as incoherent & random as both the titles. And in that case they miss out on another excellent and amazingly stylish euro-crime thriller/giallo by the most versatile filmmaker of Italy! Don't pay any attention to what Roger Ebert wrote in his review (what the hell does he know, right?), as "Paranoia" is a great film with a solid plot, complex characters and a really huge portion of genuine suspense. The adorable cult siren Carroll Baker is very convincing as the timid woman moving into a large & isolated country mansion following her millionaire husband's sudden death in a car accident. Whilst her befriended attorney arranges the further formalities regarding the will, lonely Kathryn falls in love with the handsome and free-spirited Peter. She takes him into the house and his equally free-spirited sister Eva soon joins the couple as well. The cheerful times of parties and unconditional sex rapidly end, as Peter & Eva start to blackmail, torture (physically & emotionally) and drug her. The depiction of Kathryn's agony is truly harsh and uncomfortable to observe, especially because you honestly care for her persona. You're hoping that the tables will soon turn, yet whenever you think Kathryn's rescue is near, her suffering actually grows more intense. Lenzi succeeds in making his film amazingly compelling and even manages to save up some excellent (albeit abrupt) twists for the big finale. They're not particularly plausible but at least they're original and rather dared. "Orgasmo" contains very little violence and explicit sex, especially compared to Umberto Lenzi's later repertoire, but the film relies a great deal on its atmospheric settings and music. The cameras elegantly swift through the wonderful filming locations, guided by suitably sultry songs and instrumental tunes. Our director sometimes does exaggerate a little with his "hallucinating" camera trick and close-up angles, but that's easily forgiven. Carroll Baker is simply terrific and Lou Castel makes a very impressive villain. It's a great movie and I can clearly understand why Lenzi himself counts it among his personal favorites. Highly recommended.

This is a real curio. Directed by Umberto Lenzi before he gained notoriety with cannibal movies such as 'Cannibal Ferox', and starring the lovely Carroll Baker ('Andy Warhol's Bad') and Lou Castel (from supertrash classic 'Killer Nun'). Baker plays a recently widowed American expatriate living in Italy who has a fling with young stud Castel. She invites this hipster to move in with her in her luxurious mansion, followed shortly by his free spirit sister. The two corrupt the millionairess with booze, pills and sex, and then things begin to take a sinister and unexpected turn. 'Orgasmo' holds up surprisingly well and keeps your interest until its final shock scene. It may not be perfect but I recommend it to 60s Euro buffs and thriller fans.

It's tempting to look at this movie and think: What on earth is Carroll Baker doing in this piece of junk? (One becomes a lot less judgmental after reading Baker's autobiography and finding out this film came along at a time when Baker was in somewhat dire financial straits.)

It's still a piece of junk. "Paranoia" is a nasty, amateurish, inept thriller that tries hard to be sexy, but is more embarrassing than erotic. I don't know how it plays in Italian, but the (partly dubbed) English dialogue is as ghastly as the direction (somebody take away Umberto Lenzi's zoom lens!). There is one intriguing, identity-blurring moment when Baker playfully dons a dark wig that makes her look so much like co-star Colette Descombes, it's spooky. (Yes, of course it's a rip-off of "L'Avventura," but in this film, you take whatever you can get.) The movie's ending is beneath "Contempt."

(Interestingly, Baker in her memoirs mistakenly identifies her character as a divorcée instead of a widow, and never mentions the movie by name, either by its American title, "Paranoia," or its oh-so-charming Italian appellation, "Orgasmo.")

Orgasmo radiates the glossy decadence of late-sixties Italy, weaving together sun-drenched luxury and creeping psychological menace. The film's greatest asset is its atmosphere: the camera glides through a lavish villa and its lush grounds, capturing both the seductive beauty of the setting and the claustrophobic tension that slowly builds within its walls. Cinematographer Guglielmo Mancori uses vibrant colors, elegant pans, and frequent close-ups to create a visual style that is both alluring and unsettling. The effect is heightened by moments of psychedelic excess, zoom-ins, off-kilter angles, and red-tinted lighting, that mirror the protagonist's spiraling mental state. While some of these stylistic flourishes border on the heavy-handed, they undeniably contribute to the film's distinctive mood, evoking a sense of disorientation and unease that lingers long after the credits roll.

Carroll Baker, as the recently widowed American socialite Kathryn West, delivers a performance that anchors the film. She deftly balances vulnerability and sophistication, making Kathryn's descent into paranoia and confusion both believable and sympathetic. Baker's expressive face and subtle shifts in demeanor convey a woman gradually losing her grip, and she remains compelling even when the script falters. Lou Castel, playing the enigmatic Peter, brings a sly, unpredictable energy to the role, his charm tinged with menace. Colette Descombes is memorable as the mysterious Eva, though her character is more a catalyst for chaos than a fully realized presence. Among the cast, Baker stands out; her portrayal elevates the material and ensures the audience remains invested in her fate.

Despite its visual flair and strong performances, Orgasmo stumbles in its pacing and narrative originality. The film's plot, built around seduction, manipulation, and psychological torment, unfolds with a sense of inevitability that undercuts the intended suspense. The story's twists are telegraphed early on, and the limited number of characters makes the outcome relatively easy to predict for seasoned viewers. At times, the film leans too heavily on its modish style and erotic trappings, sacrificing depth for surface pleasures. Still, Lenzi's direction keeps the tension simmering, and the film's mod soundtrack and glamorous production design provide ample entertainment for fans of the genre.