उपयोगकर्ता समीक्षाएं

It's ironic sometimes how a film doesn't turn out quite like its director intended, but the end result still outshines much of his other work; Lenzi reportedly wanted to make something akin to EASY RIDER (1969) but producer Carlo Ponti requested "the usual giallo" – besides, the drug-trafficking angle was changed to an even more lurid (and commercial) one involving pornographic material (hence, the alternate title DIRTY PICTURES)! Anyway, this is an atypical {sic} – thus interesting – effort from the genre's heyday: for once, too, the tone isn't overly glum (Bruno Lauzi's score, in fact, is infectiously upbeat most of the time) while being, as ever, a very stylish film.

The plot concerns two English kids (Ray Lovelock and under-aged Ornella Muti) traveling through Catholic Italy selling uncommon 'brochures' (Muti is perhaps too Mediterranean-looking to convince as an English girl, but she's sexy and generally delightful all the same). Being reckless, they never save what little money they make – when it's not stolen by those who 'befriend' them along the way (including a real-life motor-cycle dare-devil, dubbed "Crazy Tony", popular at the time!) – so the couple are forced to keep up the act…until they're betrayed to the Police by a potential customer who run them out of town. However, on the way, their car (stolen, of course) runs out of gas and the only nearby 'oasis' is a secluded villa they at first believe to be uninhabited; it transpires that rich American(!) Irene Papas (a curious presence in this type of film which, to my mind, definitely works in its favor) is inside and she catches them in the garage just as they're transferring petrol from one of the cars within into their own vehicle.

The woman's first reaction is to send the kids away, but she soon changes her mind and they're invited to feed and even stay the night. The couple's freewheeling antics seem to liberate the stiff lady of the house, too, and before the night is out, the trio are having themselves a party (cue some crazy zooms on the dancing participants – something I forgot to mention, by the way, in my review of Lenzi's A QUIET PLACE TO KILL [1970]) for which Muti also contrives to dress up in exotic fashion. Papas and Lovelock spend the night together but not before she's sent him to the garage to fetch her some cigarettes: looking in the glove compartment of her car, he finds a gun and instinctively picks it up. This, as it turns out, was a deliberate move on her part as the young man now has his fingerprints on the weapon – when the kids first arrived, Papas had been acting strangely and we soon discover why: her husband's body (whom she herself shot, being in cahoots with a lawyer who's intermittently seen trying to make contact with her) is stashed in the boot of the car! To add more conviction to her fabricated story – that the kids assaulted the household – Papas feigns an attempted rape…

Typically, the picture is filled with solid suspense touches and clever narrative twists: when the Police finally arrive, as Papas had predicted, it's her they believe; the kids, thinking otherwise (having drugged the woman and 'planted' the gun in her hands) take it easy as they're reaching the border, even deciding to go for an impromptu swim. However, as they're departing once again, the Police bars their way and, as was the case in the afore-mentioned Lenzi film (which I watched on the very same day as this one), it all ends with the kids running the car off the road and tumbling to their death – still, the director gives the whole a cynical conclusion this time around (accentuated by the reprise of the jaunty theme tune) as there's no redeeming last-minute stroke of irony here!

By the way, this too emerged to have the dual audio syndrome I encountered during my recent viewing of some of the "Euro-Cult" titles I've been going through. At first, I was disappointed that the Italian-language track was missing from this copy but, actually, it makes perfect sense here – since all three protagonists are foreigners anyway; then again, many of the Italian supporting characters do speak in their native tongue. Even so, some of the dubbing is unintelligible (particularly Umberto Raho's Police Inspector, who only appears towards the end) while, for about five straight minutes around the one-hour mark, the dialogue reverts completely to Italian for a scene which presumably was cut from the U.S. version of the film!

I watched this for the first time on DVD last night, at 84:34 minutes it is apparently the longest available version. The picture quality was pretty weak at times and occasionally the language switched from English to Italian but hey, this is all part of the joys of being a fan of Euro sex, sleaze, thriller and horror movies. Directed by Umberto Lenzi, the man who started the notorious cycle of gory Italian cannibal movies, Oasis of Fear is a much different genre, it does contain one or two suspenseful moments (the one in the bird aviary is good) but I would not call this a proper Giallo movie. More of a sexy and fun thriller. Ray Lovelock and his gorgeous girlfriend Ornella Muti play a very young couple (I make her a mere 16 when she filmed this) travelling across Italy, selling pornographic photos of themselves but when their delightful little British MG sports car runs out of fuel they seek refuge at a large villa, owned by the strange Irene Papas. This is where things start to get interesting. The movie is sexy, groovy, fun and at times suspenseful, I wouldn't call it a classic by any means but for anybody who enjoys Euro movies from this period then it is worth seeing. The sex and nudity aspect is quite tame. Watch out for the crazy guy on a motorbike who speaks an curious and amusing mix of English and Italian!

Danish student Ingrid (Ornella Muti) and her English boyfriend Dick (Ray Lovelock) decide to sell pornography illegally in Italy, and at the beginning, they make a lot of money and spend a great holiday time there. Then they are arrested by the police, and their rebellious attitude (especially if you remember, this was 1970) doesn't help much. They end up on the street without a Lira in their pockets, and when a rich lady (Irene Papas) offers help, it seems a stroke of luck and they are not suspicious at all...

La bella Ornella in one of her earliest movies is very playful and looks best in a kind of Indian temple dancer costume here. All in all, "Un posto ideale per uccidere" is not a particularly dark or violent film, but with enough suspense. The rapid cut by Eugenio Alabiso - who also had his hands on genre classics like "Tutti i colori del buio" and "Lo strano vizio della Signora Wardh" - helps to speed it up a bit. Note: My Italian DVD is said to be transferred from the original negative with a running time of 83:49 min.

Posto ideale per uccidere, Un (1971) aka Oasis of fear aka Dirty pictures 7/10

A young free loving hippy couple Dick (Ray Lovelock) and Ingrid (Ornella Muti) buy a car load of porn in Copenhagen to help fund their holiday in Italy. Once in Italy they find plenty of takers for their product and soon find themselves very flush with cash which they spend like there's no tomorrow, soon they find they are broke again and Dick has the idea to take porno photos of themselves and flog them, but they approach the wrong person and are soon in the custody of the local police who confiscate the pics and give them 24 hours to leave the country. On their way home, their car runs out of petrol and so they knock into a nearby large house, where having received no reply decide to siphon off petrol from a car in the garage. They are confronted by Barbara, the apparently flustered lady of the house who threatens them with the police, but then on hearing their story changes her mind and invites them in for some food and to stay the night. It turns out she is the lonely wife of a NATO colonel and soon all three are involved in some flirtatious sex games, but who is taking advantage of who? Next morning we find out……

Another fine early Giallo from the diverse Lenzi, a rather bloodless and character driven film that doesn't really follow the Giallo tradition or for that matter let on where its going until the end, Lovelock and Muti are very good as the young sexually charged couple, who never hesitate to get naked, although Muti's nude scenes do seem to have been taken by a body double, Irene Papas as the very hospitable host takes most of the acting plaudits and portrays her characters vulnerability to perfection in a role that also requires her to show a sense of sexual frustration in a multi layered character and despite the fact not a lot happens in the first half of the film, there is a nice tension built up between the three leads. Lenzi also captures a fun frivolous swinging sixties full of flower power hippies, gypsies, sitars, swinging clubs which is defined by a very funky score with some horribly catchy songs by Bruno Lauzi. Although there is more than a slight overuse of the zoom lens throughout the film, Lenzi again proves to me he was a fine film maker. There's also a sting in the tale, in what is a rather muted and downbeat ending as Lenzi finally reveals his hand. Recommended

A young Scandinavian couple are rousted by the Italian police for selling nude photos of themselves. After, some strange misadventures with some gypsies (who rob them) they try to steal some petrol from the villa of a wealthy NATO colonel and are caught in the act by his wife. They charm their way into her house and seduce and victimize the older woman, but she has a surprising agenda of her own and soon the young couple find themselves embroiled in a murder and on the run from the law.

This is one of a string of superlative gialli directed by the enigmatic Umberto Lenzi starting with "Paranoia" in 1968 and ending with "Seven Bloodstained Orchids" in 1972. After that, Lenzi seemed to lose interest in the genre directing much lamer entries like "Spasmo" and "Eyeball" before moving into violent police thrillers and eventually stomach-turning third-world cannibal films. The plot of this movie somewhat resembles Lenzi's first giallo "Paranoia" with a young, free-spirited couple victimizing a wealthy, repressed older woman, but the older woman is much more than a victim here, the couple is much more sympathetic, and the story is told from a very different point of view. The ending is also similar to the ridiculous deus ex machina ending of the earlier film, but is much more believable (albeit much more cynical).

As the young couple, the movie features two of the most attractive actors of 70's European exploitation films in Ray Lovelock and Ornella Muti. But Lovelock, unfortunately, is dubbed and not speaking in his usual Scottish brogue and Muti was obviously too young to do the copious nude scenes that are, for once, necessary to the plot, so an obvious body double is used and every cinematic trick in the book employed (of course, this doesn't stop Lenzi from making like Jess Franco with the zoom lens every time the real actress bends over in her short-shorts). Both actors are pretty good though despite these liabilities. Special mention must go to Irene Papas though, who almost outdoes Caroll Baker herself in the Carroll Baker role.

I hate too admit it, but I kind of liked to pop music soundtrack too.

I found Oasis Of Fear to be a good movie. It is about a young hippie couple that are trying to sell illegal pornography whilst they are in Italy. There is not too much nudity in the film, They drive around in a yellow open top sports car. they manage to break into the garage of this womens villa, and try to steal petrol from her car. she agrees to let them stay in her villa for the evening she then gets tortured by the young couple and they get involved in a murder case. I noticed that during some parts of the film. some sences were done with Italian subtitles, where there was no dubbed English. i thought that it was a good made exploitation film.

Another from the Shameless stable of exploitation films. They go on about how they've tracked down missing scenes, remastered it all and redone the soundtrack... it's like a kid telling you how they've done an amazing drawing and you then look at it... Oasis of Fear is a bit, well, rubbish.

It's about a young couple who travel around Europe in a zippy yellow open top sports car flogging porn mags to locals (that dates it). But once the movie settles down it hits you that it's just not very good, a bit amateurish. The trailer is the best thing about it.

It starts off okay with a George Beatle type track, but soon becomes irritating. The bloke, all 29in waist and big hair, is from the Cliff Richard school of acting. Actually Cliff was a bit more charming than this. The girl is alright in a Kate Middleton kind of way. It belongs to an age where you had to make your own entertainment, when you only had Dixon of Dock Green on the black and white telly, while going to the movies to see a big colour film - and a woman get her kit off - was a real treat, real decadence.

You rent these films for a bit of sauce and unPC fun - you don't really expect to be so bored by it all. It picks up for the last half hour, but really drags until then.

In my personal quest to track down and watch every single Italian giallo ever made, I encountered Umberto Lenzi's "An Ideal Place to Kill" (a.k.a. "Oasis of Fear") many times already, but for some inexplicable reason I always deliberately postponed my viewing of this film. I don't know why, but it always felt to me as if this wasn't a 100% genuine and full-blooded giallo, or at least that Lenzi never intended for it to be one. Along with handful of other prolific Italian genre directors, Lenzi undoubtedly was one of the masters of the giallo-sub genre and he contributed some excellent titles ("Seven Blood-Stained Orchids", "Knife of Ice", "Spasmo"…) but I'm personally persuaded that he wanted to do something more and different with this film. Rather than a giallo, I'd say this is more of a "lovers-on-the-run" thriller inspired by the huge success of Arthur Penn's "Bonnie and Clyde"; yet predating several other tremendously popular films in this theme, like "Dirty Mary Crazy Larry", "Badlands" and "The Getaway". Also, this "An Ideal Place to Kill" is reminiscent to Lenzi's own previous "Orgasmo" although that latter one qualifies as giallo a lot more.

Well, I perhaps refer to the two protagonists as "lovers on the run" but admittedly they aren't dangerous criminals at all. The handsome Dick and the more than ravishing Ingrid form a wayward and indecent hippie couple from England that are traveling through prudish Italy. They try to make some extra money by selling nude pictures of the gorgeous Ingrid and committing a couple of other petty crimes, which naturally leads to a confrontation with the local police and the command to leave the country immediately. They ignore this mandate, head further south and stop at a secluded mansion to break into the garage and steal petrol. They are caught by the middle-aged lady of the house, but instead of informing the police the woman – Barbara – invites them to the house. She claims to be nervous because her husband didn't come home, but she also shows a love-interest for the much younger couple and arranges a wild night. The next morning, however, Dick and Ingrid begin to suspect that Barbara hides a few sinister secrets and that she might even try to frame them for something they haven't done. Lenzi's semi-giallo principally thrives on style, lurid atmosphere and the downright fantastic performances of the three lead players. You'd expect Caroll Baker in the role of the mysterious Barbara, but the slightly older Irene Papas does a terrific job as well. The casting of both Ray Lovelock and Ornella Muti was a great idea, since they are incredibly beautiful kids that live fast and careless and absolutely don't have any moral or traditional values. There are a few intense sequences, notably the one in the birdhouse, but the overall tone of the film is lush and free-spirited (also steered by the unusually joyous pop-soundtrack). The climax, on the other hand, is cynically harsh and relentless, and it once more states clear that the "love & peace" sixties are over and gone!

Most enjoyable outing from Mr Lenzi and whilst giallo-esquire is really quite a mixed bag. Starting off as a bit of a hippy drippy affair with a young uninhibited couple using their bodies and their guile to get a free holiday, this turns into something much darker. There is real suspense including a splendid Hitchcockian scene in an aviary, lots of nudity and some pretty nasty moments. Irene Papas ( 'Zorba the Greek' and 'Don't Torture a Duckling') lends considerable gravitas with her impressive performance as the mature woman with something of a problem to sort out. Ray Lovelock is appealing as the handsome young man who likes fast cars and faster women but it is the lovely 16 year old Ornella Muti who is always catching the eye. Apparently the almost too perfect nude shots are of a body double but we still get plenty of up the shorts shots as she bends obligingly forward. All three are a great asset and with a decent script and Lenzi's constant inventiveness, this is a fine piece of exploitation cinema.

This is one of those films that plays out exactly as you might expect, almost by-the-numbers. A young couple get arrested for selling 'dirty pictures' (one of the titles for this release) although the pictures sometimes show nothing more than Ornella Muti naked in a photo-me-booth. They end up in the mansion of a rich lady (Irene Pappas giving a performance less lively than some of the furniture and obviously wishing she were elsewhere) because they run out of gasoline, and when she finds them in her garage syphoning off some fuel she realises she has a use for them. Anybody who doesn't realise what she is up to in about five minutes could only have seen ten movies in their lifetime. It plays out like an old episode of the TV show 'Thriller' with some nudity added (though Pappas obviously has a body double) and some hippy/flower-power shtick thrown in replete with cheesy music which is probably the best thing in this predictable yawn of a movie. Only of interest to Ornella Muti fans if they're not above barely-legal leering.

Oasis of Fear AKA: An Ideal Place to Kill AKA: Deadly Trap AKA: Dirty Pictures.

The highlight here is the two leads. These are probably the two most likeable people to appear in an Umberto Lenzi film. They are well-written and well acted and have good chemistry together. It's also a film with largely a lighter tone and with more humor than you would expect for a thriller. Overall, it's a pretty well rounded film.

However, it takes awhile for the main plot to kick in, and I did not like the ending. You can't win them all.

Un posto ideale per uccidere (1971), directed by Umberto Lenzi, is a stylish entry into the giallo genre that combines suspense, intrigue, and a touch of eroticism.

Lenzi's direction shines in creating a tense and atmospheric thriller. The cinematography captures the beauty and danger of the Italian landscape, using vibrant colors and dynamic camera work to enhance the film's visual appeal. The 1970s setting, with its fashion and cultural references, adds a layer of nostalgic charm while grounding the story in a specific time and place.

The performances are a key strength of the film. Ray Lovelock and Ornella Muti bring a youthful energy and chemistry to their roles, making their characters' descent into danger all the more compelling. Irene Papas stands out as the enigmatic Barbara, delivering a performance that is both captivating and unsettling.

The plot of Un posto ideale per uccidere is filled with twists and turns, keeping the audience engaged as the story unfolds. The narrative skillfully balances suspense and eroticism, a hallmark of the giallo genre, without becoming overly gratuitous. The pacing is generally well-handled, though there are moments where the film lingers longer than necessary on certain scenes.

One of the film's notable achievements is its soundtrack, composed by Bruno Lauzi. The music enhances the mood, oscillating between light-hearted tunes and more ominous melodies, effectively supporting the film's shifting tones.

However, the film is not without its flaws. Some plot points can feel contrived, and certain characters lack depth, serving more as plot devices than fully realized individuals. Additionally, while the film successfully builds tension, the climax and resolution may feel somewhat underwhelming to viewers expecting a more dramatic payoff.

In conclusion, Un posto ideale per uccidere (1971) is a stylish and engaging giallo that offers a satisfying mix of suspense, mystery, and eroticism. Its strong performances, atmospheric direction, and captivating plot twists make it a worthwhile watch for fans of the genre and those interested in classic Italian cinema. While it has its imperfections, it remains a memorable and entertaining film.

Umberto Lenzi's 1971 film "Un posto ideale per uccidere" (An Ideal Place to Kill) is a captivating entry in the giallo genre, blending elements of erotic thriller and psychological suspense with a unique twist on the traditional formula. While not without its flaws, the film delivers a stylish and engaging viewing experience that deserves recognition among Lenzi's finest works.

One of the film's greatest strengths lies in its ability to subvert expectations. While initially presenting itself as a lighthearted erotic romp, "Un posto ideale per uccidere" gradually shifts gears, embracing darker and more sinister tones as the narrative progresses. This transition is handled skillfully, keeping the audience engaged and guessing until the very end.

Lenzi's direction is confident and stylish, with a keen eye for visual flair and atmospheric tension. The cinematography by Alfio Contini captures the sun-drenched Italian landscapes and opulent villa settings with a vibrant and alluring aesthetic, adding to the film's overall appeal.

The performances are also noteworthy, with Irene Papas delivering a standout turn as the enigmatic and unhinged Barbara Slater. Her portrayal imbues the character with a captivating blend of vulnerability and menace, elevating the film's psychological underpinnings.

While the film's pacing is generally effective, there are moments where the narrative feels slightly uneven, with some scenes dragging on longer than necessary. Additionally, the character development for Dick and Ingrid could have been more fleshed out, as they sometimes feel like mere plot devices rather than fully realized protagonists.

Furthermore, the film's ending, while undoubtedly shocking, may leave some viewers feeling unsatisfied or wanting a more definitive resolution to the central mystery.

"Un posto ideale per uccidere" is a standout entry in Lenzi's filmography and a must-watch for fans of the giallo genre. Its unique blend of erotic thrills, psychological suspense, and stylish direction make for a captivating viewing experience that keeps the audience engaged from start to finish.

Starts out as a lighthearted if slightly salacious flower movie, as Lovelock and his on-screen girlfriend Muti travel Italy selling pornography to fund their peace-loving sojourn before things go awry when the authorities deport them for indecency.

It's only after an opportunistic meeting with a mysterious older woman (Papas) does the plot begin to take on a much more sinister tone. Papas plays the slightly anxious host with an air of sexual aggression, a mature, resourceful character confident enough to handle her immature guests but not entirely certain of her safety in their panicked desperation. Papas was always an intriguing actress to me, able to convey striking beauty and vulnerability whilst preserving a strong and dignified presence; she's greatly missed.

Young Lovelock and Muti (just 21 and 16 respectively) acquit themselves extremely well considering their relative inexperience, whilst neither moves nor delivers their dialogue quite as assuredly as Papas, both manage to hold their own in particularly demanding roles, appearing in almost every scene in the movie (noting that Antonia Santilli body doubles for the more revealing moments).

Lenzi's visual style is well framed by Contini's eclectic lensing, making good use of attractive exteriors and well appointed sets, although I might just say the luxury in which Papas' character resides does seem too lavish for an army colonel's salary.

The only other minor issue I took is with the plot, which seemed to hint at a twist which never materialised, the resulting conclusion whilst still shocking, perhaps not as elaborate as other giallos have led their audience to expect.

But it's also possible that I missed something, which just gives me another reason to gladly see it again, after all it's a fine movie well worth another look.

Umberto Lenzi, undoubtedly one of Italy's most diverse directors, directed a handful of Giallo's in his career, which ranged in quality from absolutely superb (Seven Blood-Stained Orchids) to rather silly (Eyeball), but Oasis of Fear was made while Lenzi still had a lot of respect for the genre, and as such it stands tall as one of his very best films. The first thing that struck me about the film was the happy pop soundtrack, and this ends up offsetting the nihilistic tone of the film beautifully once the first big twist hits. The film starts out by introducing us to two amiable British hippies, who travel to a foreign country to buy pornography. After spending all their money, the pair decides to begin making their own pornography, and it's not long before they find themselves on the run from the local coppers. After breaking down outside a lavish manor house, they decide to enter and steal some petrol. However, the lady of the house catches them and after initially wanting them to leave, she changes her mind and invites the pair in for a little three-way party...

This film doesn't adhere to the usual Giallo rules and traditions, and at first it's difficult to see where it's going. Lenzi does a good job with creating his characters, however, and although the first half of the movie is all about setting up the second half, it's interesting thanks to the handling and decent performances from all concerned. When the twist in the tale comes about, it's amazingly shocking because it appears to come out of nowhere, although Lenzi does a good job of ensuring that it doesn't feel superfluous to the plot, and the change of direction certainly suits the film. Oasis of Fear benefits from a good cast, which includes prolific Italian cult film star Ray Lovelock and future Italian beauty Ornella Muti. The pair interacts well, and provide good impressions of their characters; even though they're clearly not British. The real standout, however, is Irene Papas who is handed the meatiest role in the film (the one usually given to Carol Baker), and gets to have fun with a character who is anything but what she seems. The standout sequence of the film takes place in an aviary full of owls, and the nihilistic conclusion manages to be sad despite the lightweight nature of the movie, and overall; this is a Giallo definitely worth tracking down.

'Oasis of Fear' also known as 'An Ideal Place to Kill' or 'Dirty Pictures' is an interesting psychological Giallo thriller that focuses more on the mystery thriller aspects of the genre with very little on screen violence, but more than makes up for it with plenty of suspense, plot twists and stylish visuals.

The plot follows a young couple Dick Butler (Ray Lovelock) and Ingrid Sjoman (Ornella Muti) who travel to Italy to sell pornographic pictures and soon end up on the run from the law. After being mistaken for a couple of bank robbers they end up at a nearby mansion owned by Barbara Slater (Irene Papas) who might have sinister intentions of her own.

The movie's set up is entertaining for the first half, but the pacing does sag a little during the middle, thankfully things pick up during the final act when the plot takes a few unexpected turns, especially during the very downbeat climax which makes everything a satisfying viewing experience. The direction by Umberto Lenzi is solid with enough effective sequences, some erotic sleaze and strong production values that makes this pleasing to the eye.

The cast here are great with strong performances from the three main leads. Ray Lovelock and Ornella Muti have great chemistry together and are both convincing as young free spirited hippies and comes across as very likeable and charismatic. Irene Papas also provides a strong performance with plenty of intrigue to her character and becomes more entertaining once her true intentions are revealed.

Overall 'Oasis of Fear' is an interesting and solid little flick with great performances, sure it could have done with a bit more thrilling moments, but its still worth a look in.

Ray Lovelock and a young (very young) Ornella Muti are two freewheeling flower children who support themselves by reselling pornography across Europe. If this movie was made today they'd be running an OnlyFans! They're having a fun time of it at first but their luck starts to run out and they soon find themselves on the run. Out of desperation they take refuge in a villa (the 'oasis' of the title) and encounter Barbara (Irene Papas). After an awkward introduction they seem to get along great, even throwing a groovy party. And then the plot thickens...

Even though most people would consider this a giallo and I called it one in the title, this really feels more like a psychological thriller to me. Chalk it up to most of the plot happening in one confined location and a lack of masked killers or a large ensemble of characters to suspect. No matter how you categorize this, it's a well made effort, thanks to the chemistry between the principals, sharp cinematography, and legitimately surprising twists. Other points in this movie's favor include a somewhat higher budget (for this kind of movie, at least) and a few instances of upbeat, finger-snapping music. I typically prefer the instrumental arrangements of Morricone et. Al but the sunny opening title track by a band called I Leoni is especially worth checking out.

Man, there's something about seventies Umberto Lenzi films.

This one, which he made either right before or right after Deep River Savages, concerns two smug hippies running (literally - they run everywhere!) around Italy being annoying, having a great sex life (annoying, I've got two small kids who are the best contraceptives ever), being free spirits (wish I had the time but I'm too busy earning money to buy nappies), and stealing stuff (also annoying). They end up being mistaken for another equally annoying couple and therefore do a runner or something...or maybe it was something to do with selling pervy pictures...

Anyway - they end up at this house and that's where the mystery and intrigue start, I ain't one for spoiling a good Italian movie. Lenzi is very smart with this film...not even particularly bothered about whether or not the audience understands where the film is heading until about the one hour mark. If you don't have two small kids then you could possibly have enough time to actually sit down and watch this one - It's another beauty from the man whose mental health would give us 'Ghosthouse' and 'House of the Damn it Can't Even Remember the title of this one due to lack of sleep (two small kids)...

Shameless, bless them, have given us a good copy...my only beef with Shameless is the photographic archiving of every dirty bit from the film on the back of the DVD - Cheers for making me feel like a dirty old man!