L'occhio nel labirinto

This is truly (as most great Italian Giallo's of the time) one of a kind, little gem! Just look at the casting, dazzling cinematography (all strictly invented with class in a cold/blue colors palette, and, despite its Summery setting!), then of course all the sets, another class act per se, since they never feel conventional, but, always, rather mysterious, and, creepy, without ever being silly, though, or exceedingly over the top, if anything, created with newer and unconventional set directors, obviously working hard to make look everything so sleek and rather chic, and, then again, all make up, costumes, and, so on.. all details just coming together to create a bewildering composition, rich of inventions, and, i am thinking, certainly making so fiercely the most, out of a shoe string budget, finally proudly achieving, while fully succeeding in delivering a straight - to the Silver Screen (let's not forget that main point also, and that is the fact these movies were actually going wide screen, in Cinemas back then, since, i mean, we had of course no video's, DVD's, pay-per-view, or streaming, at the time!)- very good product, never less than compelling! And, not only professional, but, very enjoyable, gripping, and, even somewhat, 'personal', in this particular case, i thought! Ah, I truly only wish Cinema in this lamer than lame 2010's decade, had really only a half of the virtues, you may find in here! Truly. The plot is intriguing, puzzling, disturbing, and.. never or rarely, plausible, but, then again, who wanted to go to the movies to point fingers on stretches of plausibility, while enjoying a movie like this one, back then? Nobody: they just wanted to be fascinated, entertained, and, slowly, but surely lured, and, brought into a World they had heard of, or might have imagined or lusted: this is a privileged world belonging exclusively to a certain upper class, and, more precisely, a colorful and erratic group of folks, all linked by some truly sleazy sexual habits, and a fondness for betrayal, while always cheating reality in favor of money, or other even more ambitiously cruel plots and sub plots! Mario Caiano confirms himself immediately (after a decade spent as an Assistant Director, or Production or Script Supervisor, proving that a career is always best, when built over strong premises, such as, an on set preparation, and with legit foundations over a rigorous camera's technique!) as a solid director with this very movie, that has an almost profound visual sense, and, for sure, an appreciation for morbid and conceptual stylization, without certainly lacking of a visionary, and (then) what must have felt as a terribly innovative grip (I remind you again this was shot in the Fall of 1971!) for story telling, and, it is too bad that later, Caiano was not always offered or granted to direct as freely as he is doing here! Would also like to add that, even though, always have been a big fan of Morricone/Nicolai's classic Giallo's scores, i still loved the music here, also: a very atmospheric, very dark, nourish Miles Davis sound, although, most of all, for me, the winner here is truly the whole visual composition, again, that is just exquisite for the most part, and, to say the least! The cast is also a treat, with great Rosemary Dexter, leading, and, with quite a powerful presence, an awesome ensemble of supporters, such as, legend (Alida)Valli (she was already divine as the lead of Hitchcock's hypnotic "The Paradine Case" in 1948, and of Reed's "The Third Man" in 1949, but, also, of Visconti's art house masterpiece "Senso", in 1955, and she truly had an International career that very few other stars could compete with: just look her up!) , and with the always excellent presence of great Adolfo Celi, of course, and one of the beauties is the always sublime, wildly sexy, Sybil Danning, less campy here, but in a way, even in a smaller role, still almost more interesting than her most famous "American" movies. And, a bravo also to all other numerous thespians, of course! These were truly all good actors, but, also gifted with great and unusual presences, faces,looks, moods.. Not like in films today where everyone looks like a Bank's clerk! And i wanna ask all clerks to forgive me, of course, but, it's just an obviously non personal, and, non extremely correct way of saying, i am just trying to stress here, on a point that is very important, people: back then, some movies were so much more rewarding, because all actors had looks, some extraordinary if not, at least, unusual virtues, and, unique or pretty or weird features, in order to interest, and, intrigue, and, to make you care more, about their characters, while, of course always also being watchable, and, i would even say here way more than watchable! All together,"L'Occhio nel Labirinto" is finally a terrific, if slightly unusual, Giallo, definitely showcasing successfully way more personal visuals, and, unsettling tones, which i very much admired thoroughly, and, that, for me, at least, made up exactly for what was at times lacking a bit, from the script, not always of first hand, but, still compelling for the Genre's standards!!! PS: Sorry, but was irate when reading some reviews that were left a few years ago,but, if you are here because you like Giallo's, just get the movie - if you are into this wonderful genre, again, and, if you love Euro, and, Italian films from that wonderful, unforgettable time of creativity and inventions, that were producing ultimately even great B fun movies to watch, such as this one! - just get on it! But, if you wanna be an intellectual you are on the wrong title, and, you should truly know it! OK? Just saying..

This little seen movie is a languid and laid-back giallo. It veers away from some of the cliché's of the genre and adopts a looser approach. It's about a woman searching for her missing lover; a psychiatrist who has suddenly vanished for no apparent reason. Her search leads her to a villa populated by a group of eccentric individuals. In true giallo style, murder is never far away.

The cast is really rather good. We have Aldofo Celi (Thunderball), Alida Valli (Suspiria), Horst Frank (Cat o' Nine Tails) and a very young Sybil Danning (80's scream queen). The lead actress is Rosemary Dexter, and while I am not familiar with her, she does a good job in leading the picture.

One of the defining features of Eye in the Labyrinth is its music. Atypically for a giallo it features a jazz-rock fusion soundtrack. This score, composed by Roberto Nicolosi, is reminiscent of Miles Davis, especially his work on In A Silent Way. It's an excellent soundtrack and really gives this movie a different feel than most gialli. The fusion groove accentuates the languid atmosphere and compliments the sunny, sea-front scenery that the film is mostly made up of.

This is a giallo so we really need to talk about the murder set-pieces. Well, this film falls a little short in this regard. It's certainly not devoid of them but they are few and far between. The opening dream-murder being probably the best on offer as well as a memorable burning car sequence. But this really isn't a particularly violent film. Still, I don't think it should disappoint too many seasoned fans of the genre. The mystery is fairly compelling and it has enough eccentric characters (the idiot boy Saro and THAT unsettlingly inappropriate dubbed accent?) and moments of the bizarre to satisfy; while the sleaze-factor is upheld with a smattering of nudity throughout.

Eye in the Labyrinth plays like a giallo version of an Agatha Christie mystery, as it features a group of unsympathetic characters in a villa, all under suspicion of murder; we have the obligatory flashbacks detailing their connections with the final hours of the (highly unsympathetic) murder victim. While this isn't a grade-A example of the genre, it's certainly an appealingly different one, as it doesn't borrow too heavily from other films of the sub-genre. For giallo enthusiasts I give this a thumbs up and hope one day it's given a nice DVD transfer. It certainly deserves the treatment.

This is a giallo that like "In the Folds of Flesh" released a year or so earlier, combines the traditional giallo formula with the kind of "pop"-Freudian nonsense that was big at the time in Europe especially, resulting in a movie that is pretty goofy but fun. A young woman (Rosemary Wilcox) is haunted by pop-Freudian dreams of her recently murdered psychologist (and lover), so for some reason she goes to a resort where the psychologist liked to hang out and becomes involved with a gangster (Adolf Celli) and the strange female resort owner (Alida Valli). Soon more murders occur involving the other guests at the resort, and it's not too hard to guess who is responsible.

The ridiculous portrayal of psychoanalysis in this movie makes even Alfred Hitchcock's "Marnie" look realistic, but personally I find this kind of preposterous psychobabble, unbelievable plot twists, and bizarro dream sequences far more entertaining than most of your more realistic "psychological thrillers". There's also some solid acting talent involved here, especially Alida Valli and Adolf Celli as the two most obvious viallians. Lead Rosemary Dexter was originally casts as "Justine" in the Jess Franco film of the same name, but she was replaced American daughter-of-a-name actress Romina Powers, which is unfortunate because she proves here to be an infinitely better actress than Powers--and she gets naked a lot too. And speaking of getting naked, a young Sybil Danning also has a supporting role as a murder victim, pretty much doing what she always does in movies. (As with Linnae Quigley, I find Danning's early work much more interesting in that it is not ENTIRELY an excuse to show off her impressive nude torso).

This isn't one of the best giallo. And if you either hate Freud, on one hand, or take him very seriously, on the other, you may not like it too much. Generally though, I would recommend it.

Stuffed with Italian giallo genre conventions and narrative tropes, Eye in the Labyrinth is nevertheless a solid and intriguing thriller with a good payoff. Many of the horror elements do not surface until the final exposition when the artistic stylization of the film is at its peak. During this climactic finale, jarring editing and prominent post-production sound enhance the disturbing plot and mild onscreen gore.

'Eye in the Labyrinth' is a surreal yet glossy giallo offering from director Mario Caiano that doesn't have the usual structure that the genre usually has due to its mind-bending plot that progresses in a dream-like fashion and its odd ambiguous nature, but I found this rather quirky and enjoyable as it delves more into psychological thriller than horror with enough craziness going on to sustain interest.

The plot follows a young woman Julie (Rosemary Dexter) whose boyfriend Luca (Horst Frank) disappears for no apparent reason and sets out to find him and ends up at a villa in Italy which is populated by a group of eccentric characters including the owner Gerda (Alida Valli) and soon enough strange things begin to happen.

The movie's premise is utterly compelling and the mystery element is engrossing enough to keep your interest throughout with an array of interesting characters, tight direction and stunning picturesque cinematography where at times it employs a distorting quality which gives the film a nightmarish atmosphere. Although there are a few flaws such as the storyline does tend to spiral in different directions at times and does come across as a bit overwrought and some of the events at the villa doesn't seem to have any logic to them, especially when everything's revealed at the end. But those are just minor and nowhere near enough to ruin my enjoyment of this flick.

Overall 'Eye in the Labyrinth' is a great giallo flick, not quite up there with some of the more classics of the genre, but a solid effort nonetheless and definitely worth a watch.