Libìdo

With a six letter title ending in 'O' and a central character who is clearly mentally unstable, I was expecting Libido to be heavily inspired by Hitchcock's Psycho, but the film actually has more in common with French classic Les Diaboliques (1955), the plot involving two women conspiring to drive a young man crazy so that they can claim his inheritance.

When Christian Coreau (Giancarlo Giannini) was a child, he witnessed his father kill a woman before committing suicide; this left Christian more than a little twitchy and fearful that he might follow in his father's footsteps. Shortly before turning twenty-five and inheriting his dead dad's fortune, Christian returns to his childhood home with his wife Helene (Dominique Boschero), his lawyer Paul (Luciano Pigozzi), and Paul's wife Brigitte (Mara Maryl). While there, Christian starts to see strange things that gradually loosen the few screws he has left.

Fans of this kind of thing won't take long to figure out what is going on (although I wrongly assumed that Paul was in on the act as well), but even though the whole thing is rather trite, it's still a fair amount of fun, not least because the two actresses are rather tasty and spend a lot of time scantily dressed. The ending is also rather neat, with several twists taking it beyond the expected. I've read several reviews calling this an early giallo, but I think that anyone hoping for such will be a tad disappointed: it's more of a mystery/thriller, and not a bad one at that.

6.5/10, rounded up to 7 for Mara Maryl's pussy cat bikini. Miaow!

Libido is the kind of film that proves I'm totally justified in obsessively tracking down every Italian horror film I can find in chronological order, because it's a Giallo that fools you into thinking you've got the plot all worked out, then turns it all on its head, then turns it all on its head again, then boots you in the balls with a sufficiently nasty ending.

Christian is one of those unlucky kids who accidentally witnesses his father murdering some floozy in a mirrored room. Seems his dad took a header off a cliff shortly afterwards, leaving his creepy mansion in the hands of Paul until Christian turns 23 in three months time. Now the time is closing in, Christian, and his wife, and Paul, and his really, really ditzy wife all head off to the mansion to do the admin before the fortune falls into Christian's hands.

Paul's wife Bridgette (played by gorgeous Mara Maryl) finds the mirrored room and wants to sleep there, so later on Christian gets an eyeful when she dances in her pants for Paul, while Christian's brain juice is getting all donked up with a mixture of desire, trauma from a flashback, and wondering how six hundred year old actor Pigozzi isn't cracking a fatty right there on screen.

Also it seems that Christian's dad might not be dead at all as his pipe turns up and his favourite chair starts moving on its own (wouldn't be a mid-sixties Italian film without all that crap happening I guess!). So is Christian mad, or is someone trying to drive him mad, or has his father actually returned from the dead to tie up another floozy? This film starts off very intriguing (the credits are played out over various images of the murdered woman) and then fools you into thinking it's a mediocre Scooby Doo type thing before making you care about characters you were suspicious about from the start. I only spotted one single clue in the dialogue that may have pointed to the ending but that was that. So many twists in this one and the dark ending makes this one of the best Gialli from the sixties I've watched so far. They should have given Luciano Pigozzi bigger roles like the one he as here - He ditches the 'Igor' type act that he had in Terror Creature From the Grave and comes across as initially a bad guy to a guy perhaps discovering too late that he been made a mug of.

One last note: Dario Argento must have had his notebook out for this one - children witnessing murders, creepy toys, kid's music - all of these turn up in Profondo Rosso!

Haunted by a terrible tragedy, a young man brought back to his family's old home by his wife and friends finds his long-held belief in a legacy of family-led mental disorders has come to bear when they succumb to strange happenings and must try to keep him sane in order to leave.

This was quite the troubled if enjoyable Giallo effort. What really tends to hold this one down is the fact that a vast majority of the film is based around the idea of his past coming back to haunt him without anything actually happening. It plays like a stodgy Gothic chamber-drama more than an actual horrific effort, filled with long- winded scenes of him monologuing about the past and his fears of its recurrence in his personality followed by their increasingly incessant pleas for him to regain his sanity, leaving this one incredibly dry and long-winded for much of it's running time. Even being distracted by the elaborate Gothic setting or the inviting mystery at hand doesn't really offer up much as it becomes quite obvious early on that little is actually happening with such long stretches of time between action, and the repetition of these events merely reinforces this since that's what happens for a large part of the film. Due to the lack of more traditional Giallo-based elements, that really leaves this one with the seriousness of its set-up to sustain any attention in the first half and that causes this to feel way too drawn-out for way too long throughout this section of the film. Once it becomes more involved with the idea that the father has returned and it starts in on some rather more lively antics there's some likable work at play here as the preponderance of Gothic architecture and settings makes for a suitably chilling scenario to base the kind of psychological torment-style plot that this one hinges on as it does follow the kind of stylistic plot- points needed for that kind of payoff to occur. The walk-throughs of the castle-grounds thinking back on the events he experienced as a child that plays over the whole affair, the sight of the figure off in the distance of the castle grounds who disappears before they can offer any kind of identification of the figure leaving behind only the footprints on the carpet and the later discovery of the dead body in their midst play off quite effectively here. The film really hits its stride, though, in the final half-hour which is where it really starts to get interesting with the revelation of who's behind the whole affair and their intentions which sets up some rather fun action in the house as everyone tends to reveal their true intentions all leading up to the great shock at the finale that makes for a rather nice ending. Still, the overall blandness on display does hurt this one considerably.

Today's Rating/PG: Mild Violence.

Mara Maryl (Mrs. Gastaldi) is the Italian sex kitten in the style of Jayne Mansfield and Mamie Van Doren and her performance, and Dominique Boschero's performance, gives Libido its energy and forward thrust. Their easy-on-the-eyes beauty and great bodies don't help young Giancarlo Gianni forget the childhood memories that haunt him. His father was a sexual sadist who took pleasure in abusing women and Giancarlo fears he has inherited his dad's sickness. He also fears he is being haunted by his ghost. Mara's character, the wife of the ubiquitous Luciano Pigozzi (the Italian Peter Lorre), is ditsy but that's kind of a facade. Unfortunately, despite the great reputation of Ernesto Gastaldi as a giallo master, Libido is not on DVD or Blu Ray in North America and that's a bummer because it's one of the best of the early giallos. The black and white cinematography and location is excellent. It would have been less impressive in color. If you can find this film on the web or through a DVD vendor, give it a watch. Mara, as Maria Chianetta, wrote the giallo film Scorpion With Two Tails.

This thriller by renowned Italian screenwriter Ernesto Gastaldi is a very early Giallo - made just shortly after Mario Bava's first modern Italian thriller SEI DONNE PER L'ASSASSINO (1964) that is considered being the first real Giallo at all. But LIBIDO, shot in black and white, is not only one of the earliest Gialli. It is also one of the most accomplished - even though it was made in less than three weeks according to Gastaldi.

Christian (Giancarlo Giannini in his first movie) returns to the house by the sea where he grew up. He's accompanied by his fiancée and a befriended couple. As a child, he witnessed his father killing his mistress before jumping over a cliff. With the return, Christian should finally overcome his childhood trauma that emerged. As soon as he is back in his old home, though, Christian sees strange things that lead him to the assumption his father must still be alive.

Only one location (the house and the immediate environment), only four actors for most of the time - plus plenty of thrills and psychological terror make this one a winner. LIBIDO starts with a quote by Sigmund Freud. It can't get much more appropriate than that, because of all Gialli, this is the most Freudian one (and there are quite a bunch). Towards the climax, the plot twists pile up, of course, and they all do not only work, but are also clever and surprising (and try to do that with only a quartet of characters).

LIBIDO is a classic of its genre - essential viewing for Giallo fans and thus not to be missed.