L'osceno desiderio

"Obscene Desire" aka "La Profezia" is an erotic and genuinely eerie Italian "The Exorcist" clone which predates and is quite similar in tone to Andrea Bianchi's "Malabimba".Amanda,a beautiful American girl is soon to be married to Andrea Orsomandi,a wealthy nobleman who lives in an extravagant Gothic mansion.However there exists something dark,sinister and supernatural within the walls of the mansion.It seems that Andrea has been driven to madness and is a victim of the evil contained within the house.It soon transpires that he is involved in black magic,perverse rituals and serial killings with the aid of his sadistic henchman and gardener Giovanni.Killing prostitutes in order to exorcise this Evil.Now the demonic forces set out to possess Amanda,take her soul and turn her into another victim of the mansion."Obscene Desire" is full of graphic nudity provided by Marisa Mell,Laura Trotter and Paola Maiolini.It has solid acting and moody score by exploitation veteran Jesus Franco.8 out of 10.

This post-"Exorcist" and "Omen" possession film is quite odd. It has some typical Giallo elements and until the second half of the movie, it is left unclear whether there is something supernatural going on or not.

The film also boosts some strange characters that sometimes get a little bit overacted by the actors. But the main problem of the film is that it makes the impression of coming about ten years too late. It is too old fashioned to be a typical horror film of the late 1970s (there are many classical Gothic moments in it), and on the other hand it is too graphic to be a late Gothic horror film (two gory scenes and plenty of nude female flesh).

All in all, it's an enjoyable if not amazing little film, and the climax delivers an unexpected downbeat twist to surprise the audience. If "L'Osceno Desiderio" (my preferred title) would have been directed by a more gifted director, it would surely be a remarkable sleeper.

Obscure and underrated Rosemary's Baby style thriller from Italian director, Giulio Petroni. He was better known for spaghetti westerns, made this when he was sixty and had his name taken off the credits. I don't know why but with such a fierce and satanic theme with the added sexuality of Marisa Mell, this was bound to upset someone. Not me, however, I was surprised how enjoyable it all was and if the director doesn't seem to have a clear grip on things there are enough excellent sequences to make up for the odd rough edge. Chris Avram, for instance, seems particularly lost in his ill defined role as husband, serial killer and defender. Marisa Mell, on the other hand, is magnificent, well remembered for her role in Fulci's, One On Top Of The Other, ten years before, she was raped by Helmut Berger in 1977's, The Mad Dog Killer (Beast With A Gun) and here puts in a very fine performance and her submission to the powers of evil as she lays in bed is remarkable.

This is yet another ROSEMARY'S BABY (1968)/THE EXORCIST (1973)/THE OMEN (1976) clone – which I was unfamiliar with until a few months ago – and, again, one in which the possession is really by an ancestor (shades of BLACK Sunday [1960]) rather than the Devil himself. We still get the obligatory 'demonic' scenes, but these here are perhaps the tamest I have ever seen: the would-be exorcist (a disheveled Lou Castel) gives up immediately after the 'victim' (Marisa Mell, past her prime but still looking good in the nude) spits out a host he had just fed her – retreating in a room to pray, where a gust of wind turns a hanging cross upside down, he runs hysterically out into the streets soon after only to be run over by a truck! Similarly, the climax sees the trio of devil-worshippers sent to protect the unborn Devil's spawn (including an unhinged elderly gardener) struggle with and eventually set fire(!) to Mell's husband (whom she had earlier spied in an orgy with two of them – or was it just her imagination? – and is even revealed to be a serial killer on a 'mission' to cleanse the world of sin)!! Following this, in a typically cynical conclusion, Mell boards a plane bound to spread evil in the U.S. The film, then, is muddled in plot development (as if Spaghetti Western exponent Petroni was wary of the material, or presumably lost interest when the producers insisted on adding softcore scenes – in fact, he subsequently disowned the film!) and typically listless in pace…but it nevertheless remains engrossing throughout, aided immeasurably by Carlo Savina's moodily romantic score. By the way, this was originally released as LA PROFEZIA i.e. THE PROPHECY.

Here is another low budget Italian riff on The Exorcist. It involves a newly married couple who move into an ominous Gothic house. Almost immediately, the wife becomes possessed while pregnant, while someone is brutally murdering prostitutes nearby.

This one is elevated by the presence of Marisa Mell in the lead role. She was famous for iconic appearances in earlier movies, such as Danger Diabolik. It has to be said that here though, her presence is not enough to save this one. None of the plot strands are very interesting and it never escapes the feeling that is has been made in a hurry and at a low cost. There are a few isolated memorable moments but mostly it was a bit tedious sadly.