L'intrigo

Way back in pre-vcr, early 1980s Florida I tried to stay up and watch this but ultimately fell asleep before the film's airing time. This was when channel 13 was ALWAYS showing little imported horror and suspense films like: Beyond The Door, Dracula A.D. 1972, Shock Waves, Welcome To Arrow Beach, Secret Of Seagull Island, The Psychic, Lady In The Car With Glasses And A Gun, Night Watch (with Billie Whitelaw), Rider On The Rain, Hands Of The Ripper, Reflections Of Murder (Tv's Diabolique remake), Rosemary's Baby, The Legend Of Lizzie Borden, etc, just to name a few from memory. Very cool time! Anyway, this missed opportunity has always haunted me and I've searched for this title for years so when Turner Classic Movies aired this I was elated! Was it worth the wait? I can honestly say yes. A great film? No, but highly watchable and everything I had expected based on the brief, old summary that TV guide gave the film. I can't add to anything that has already been posted about this film but if you dig seeing attractive ladies in peril running around an appropriately gaudy Gothic villa and sunny, Naples scenery then this fills the plate. While watching 'Dark Purpose' films like 'Hatchet For The Honeymoon' and 'Champagne Murders' immediately popped in my head. That should give a clue as to the actual feel of the movie (if one has seen these two flicks). AND of note is the always great George Sanders: brief but exceptionally bitchy with some snide lines! What a little queen! One last thing: it's been posted that the print that TCM aired was bad (with seriously spotty sound) and maybe so but that's only in comparison to their normal output of LBX & remastered films, yes then it was a low grade print. But in my opinion: shoddy 'Dark Purpose' is better than no 'Dark Purpose'

George Sanders ' and Micheline Presles's parts are almost pointless,the former introducing his assistant (Shirley Jones ) and the latter is used as a deus ex machina who reveals the truth in fine.

A bizarre story of amnesia in a baroque mansion where a count (Brazzi) lives with his daughter(Georgia Moll); who since her accident , is mentally -ill and mistakes her father for her husband ; when the aristocrat falls for the young assistant, the story turns Freudian ,as the girl got jealous and is not prepared to share her would be husband .

Brazzi is ideally cast as the Italian noble ( like in "the barefoot comtessa" ) with a darker side to him (present in "legend of the lost" ); not a giallo ,but an entertaining little thriller .

Turner Classic Movies is broadcasting this bizarrely loopy international production as "Dark Purpose." It is full of secret passages, loonies in the attic, marital deceptions, fits of hysteria and mysterious deaths -- plus some slavering dogs. The TCM print is gorgeous-looking, but, alas, the soundtrack is horrendous, rendering a good half of the film unintelligible. Wonderful locales and interiors, but abysmally ham-fisted direction by George Marshall and Vittorio Sala. Doris Hume Kilburn wrote the novel that has lifted elements of women in domestic peril from most of the genre from "Jane Eyre" through "Midnight Lace." A very nice performance by Shirley Jones is sadly undone by an over-the-top George Sanders, a poorly scripted Giorgia Moll and a lazy Rossano Brazzi.

International mishmash from a novel by Doris Hume Kilburn involving American secretary Shirley Jones with handsome, mysterious count Rossano Brazzi in Naples. Shirley's abroad doing research with her boss, an urbane art curator; Brazzi is their host who resides in a cliffside Italian villa. Their rocky first meeting quickly turns to romance, despite an ex-lady friend hanging about, as well as Rossano's unstable daughter, a shut-in who insists to Jones that she's Mrs. Brazzi. French-Italian co-production, distributed Stateside by Universal under the title "Dark Purpose", has enough red herrings and suspenseful clinches to make it mildly enjoyable. Jones gets to be a bit sexier here than in previous films (with the exception of a matronly hairdo); matching up well with Brazzi, Shirley has some sass at the beginning, though her character's declaration of love comes too soon, after which she becomes a simp heroine. Brazzi, who must have been tired of playing Euro-cads by this time, is alternately fatherly and patronizing--to everyone!--but the dark streak in his character suits him well this time. George Sanders is typically pithy as Shirley's boss, and the editing and music score are both up to par. **1/2 from ****

In this American-abroad-in-peril the quite breathtakingly beautiful Shirley Jones plays a young secretary who arrives in Italy with Britton insurance agent George Sanders (noless!) to evaluate the stunning estate of Count Paolo Barbarelli (played with merit but without real imagination by Rossano Brazzi). She soon finds herself more interested in the clichéd aristocrat charms of the Count than in his art collection. However all is not as it seems, and sneaking around the house is the Counts eerie daughter, allegedly traumatized after the death of her mother in an accident a few years back. Questions mount and plot thickens as Shirley pursues a friendship with the girl, and roams around the big estate where a mystery seems hidden within the architecture it self. All in all this is an entertaining romp for those with a taste for stylish Hitchcockian thrillers of the 60's, and what it lacks in originality it makes up for in the charm of the cast, good paced direction and lavish imagery.