Maison de rendez-vous

Here's an interesting film to watch on those late nights when you can't find anything else, and you're in the mood for that old misogynistic sleaze that used to mark Italian films of the early 70's. The plot is a bit convoluted, but here goes.

When Francine (Bouchet), a prostitute, is knocked off, the main suspect, a guy named Gavalles, is sought by the police. He was one of the regular clients of the whorehouse where Francine worked, but he seeks refuge from the law, as he claims he didn't commit the crime. However, during a chase, he is decapited as his motor-bike collides into the back of a tractor-trailer.

The police think that's the end of the murderer, but soon another prostitute is killed. Inspector Fontaine is put on the case, and as he begins probing around, he finds several suspicious individuals who knew the deceased women. One of these suspects is a journalist; another is a famous doctor named Waldemar; another is a criminal magistrate who was intent on convicting Gavalles for the first murder. And finally, there is Madame Colette (Anita Ekberg), the proprietor of aforesaid whorehouse. Now comes the task of figuring out the identity of the killer. And as Fontaine gets deeper into the case, the killer strikes again and again.

Here's a modest giallo outing, obviously made to "cash in" on the then prolific market of horror thrillers. The general mood is seedy and low-key, and the cheap sets decorated with phony Rennaisance art are a lame attempt at adding sophistication to a hastily made film. Howard Vernon here steals the show as Waldemar, who investigates the eyeballs taken from Gavalles' corpse, mashing them to a pulp with his scalpel, as if he were to looking for peals. Nevertheless, it's good fun.

Professional Humphrey Bogart look-alike Robert Sacchi plays the detective. He gives a decent performance, but doesn't live up to his mentor's standards. Actually, the film gives him very little opportunity to act, as the number of characters and constant plot twists keep him at a deadpan level. We never even get a close shot of his face. The murders are violent, but there is little bloodshed. The sound effects are rather odd; when one of the girls is murdered, it sounds as if someone is clashing cymbals. The main show here comes at the end, when we think the killer's identity has at last been discovered. However, we're in for a few surprises; and that's what makes this film worth watching, apart from seeing Barbara Bouchet and Anita Ekberg.

Director Merighi was none too prolific, and he remains a minor figure in the pantheon of Italian cult cinema. He made his debut in 1957 with the melodramatic crime film "The Sun Will Return" (Il Sole Tornera'), which starred future director Roberto Mauri. He is also known for directing the 1972 spaghetti western, "They Called Him Trinity."

Despite the fact that this Giallo is often lambasted, I actually had rather high hopes for it; just due to the sheer number of cult names on the cast list and the fact that the more convoluted Giallo's are often the best. However, while this film does have a vast array of ideas on display, director Ferdinando Merighi isn't able to round everything up into one coherent plot line. Furthermore, not many of the genre trademarks have made it into the film; as it's not very colourful, the mystery is obvious from the beginning and despite the fact that the plot focuses on a brothel; there isn't a great deal of nudity. The film gets off to a good start, and after the first half hour I was really expecting a more than decent Giallo. We are introduced to Antoine Gottvalles; a customer at the aforementioned brothel. He's in love with prostitute Francine (the gorgeous Barbara Bouchet, whom I'm in love with) and after her murder, he becomes the prime suspect while the real killer manages to escape. It's not long before the murders continue and police inspector/Humphrey Bogart look-alike Inspector Pontaine gets on the case.

The cast list is among the most impressive of any Giallo. The most exciting element for me was the fact that Amuck co-stars Rosalba Neri and Barbara Bouchet were reunited, even if the latter does only last a few minutes. 'Killer Nun' Anita Ekberg gets a supporting role alongside 'Dr Orloff' Howard Vernon, while the film introduces the lovely Evelyn Kraft. The film is rounded off by a bizarre performance from professional Humphrey Bogart look-alike Robert Sacchi. Quite why the Inspector looks like Bogey is never actually explained; my theory is that it either has something to do with the alternate title (Bogeyman and the French Murders), or director Ferdinando Merighi really wanted Bogart in his movie, but couldn't get him...for obvious reasons. The problem with Sacci in the lead is that, unfortunately, he can't act...and he doesn't look that much like Bogart anyway. The plot manages to move along without getting too dry despite being highly derivative, and the film does have a number of standout death scenes; even if they are extremely unprofessional in their handling. The Parisian setting is good and provides a little beauty to offset the mundane plot. The ending is a little obvious...but it's fun enough to watch and overall, I won't say that The French Sex Murders is a great example of the Giallo...but it just about qualifies as a decent one.

Wahey! I didn't expect this one to be as delightfully bonkers as it turned out, but then why did I expect it to be normal, knowing fine well that the police inspector in charge is played by a Humphrey Bogart impersonator, complete with mac and the constant presence of a cigarette?

Ol' fake Bogey is out to catch the killer of hooker Barbara Bouchet, beaten to death in a classy French brothel run by Anita Ekberg. At first it looks like her boyfriend did it, which would make sense as he was seemingly the last person with her, and was badly beating her up last time we saw Babs alive. Her boyfriend gets captured and sentenced to death during a court scene shown mostly in negative (?), curses all the witnesses to a violent death, escapes from prison, then accidentally decapitates himself while speeding on a motorbike. Saves wear and tear on the guillotine I guess!

Those relieved witnesses are not so relieved as someone starts bumping them off, starting with the beating to death of Anita Ekberg (in a weird, multi-coloured scene), but who would want these people dead? Is it singer Rosalba Neri? Her husband, Pepe? Pepe's lover, (I can't be bothered looking up her name)? What about the author who lives in the brothel, 'researching a book'? The judge seems to be involved too, as does his doctor mate who wants to operate on the boyfriend decapitated head. Gordon Mitchell also shows up for a quick cameo which has nothing to do with anything and is totally pointless. I think he was drunk and just wandered on set.

Upping the madness factor is your usual sleaze and some gore thrown in for good measure, and the killer's motivation for killing is remarkably tasteless, even for a film that's shown up two decapitations and a doctor cutting up what looks like a lamb's eyeball. I like my gialli short, daft, with plenty of sauce, so full marks to Bogey!

Wait – didn't the doctor's assistant say he saw the boyfriend's eyes move while examining his severed head? What was that all about? He was just told to shut up and not mention it again.

I saw "French Sex Murders" in the cinema during Dni Makabry festival in Warsaw and wasn't disappointed.This one has a truly bizarre murder plot involving a jewel heist,an all-knowing-all-seeing medium,a brothel,hooded killers,a mad scientist,incredibly sexy women butchered in gruesome ways,incest,human eyeball fondling and a professional Humphrey Bogart look-a-like brilliantly played by Robert Sacchi.The female cast is full of Italian beauties including Anita Ekberg,Barbara Bouchet and Rosalba Neri.The killings are surprisingly violent and gory in true giallo-style,including throat-slashings and decapitations,but most surprising is the innovative camera-work associated with the death scenes.Each murder is replayed four times in a quick and continuous sequence where the colour of the lighting is changed for each replay.There is also plenty of sleaze and nudity for fans of Eurohorror to enjoy.8 out of 10.

In 1972, American producer Dick Randall, never one to let a bandwagon go by without jumping on it, turned his attention to the then extremely popular Italian 'giallo' genre, giving fans of sleazy murder thrillers French Sex Murders, a tawdry tale of sex, violence and bad 70s fashion.

The film, which is directed without panache by Ferdinando Merighi, features a great cast (many of whom will be familiar to fans of cult 'Euro-trash' cinema) who struggle with the so-so plot, which sees a detective (who inexplicably resembles Humphrey Bogart) trying to solve the mystery of who is bumping off the girls at a Parisian brothel.

But whilst it might never be considered a 'classic' of the genre, French Sex Murders does feature several factors which ensure that a fun time is still had from start to finish: plenty of welcome nudity from its gorgeous actresses (Evelyne Kraft and Barbara Bouchet are stunning); a few decent death scenes (including a couple of decapitations) with effects courtesy of Carlo 'E.T.' Rambaldi; eyeball mutilation; a groovy soundtrack; trippy editing (scenes are shown in negative and often repeated in several different colours) from Bruno Mattei; and memorable performances (not necessarily good, but certainly memorable) from creepy Franco regular Howard Vernon, bizarre Bogart-a-like Robert Sacchi, and the incredibly OTT Pietro Martellanza.

So if you've seen all of the greats of the genre, but are still hankering after a bit more giallo action, then you could do (much) worse than to give French Sex Murders a viewing.

6.5 out of 10 (rounded up to 7 for IMDb).