Jean, un ricco uomo di mondo parigino, viene in aiuto di una giovane donna spaventata che è sotto il controllo asfissiante del suo violento fidanzato, Klaus. Sebbene sia già sposato, Jean sv... Leggi tuttoJean, un ricco uomo di mondo parigino, viene in aiuto di una giovane donna spaventata che è sotto il controllo asfissiante del suo violento fidanzato, Klaus. Sebbene sia già sposato, Jean sviluppa una relazione romantica con lei.Jean, un ricco uomo di mondo parigino, viene in aiuto di una giovane donna spaventata che è sotto il controllo asfissiante del suo violento fidanzato, Klaus. Sebbene sia già sposato, Jean sviluppa una relazione romantica con lei.
- Regia
- Sceneggiatura
- Star
- Jean Reynaud
- (as Jean Louis Trintignant)
- Monsieur Valmont
- (as Gianni Di Benedetto)
- Party Guest
- (non citato nei titoli originali)
- Jean's Secretary
- (non citato nei titoli originali)
- Uomo Della Commissione
- (non citato nei titoli originali)
Recensioni in evidenza
Jean (he's a fanny rat, but hard to like, because he's French), is a rich playboy who is not getting any of his wife (Erika Blanc - she looks like David Bowie), so looks for other avenues to explore. When the film opens, he's banging his mate's wife, but soon he discovers a new blonde has moved into the apartment above his.
There's something strange going with this new blonde too, because Jean is hearing the scraping of furniture and what sounds like someone being slapped around, but when he goes to the front door of his new neighbour, no one answers. When he does finally get to meet her she claims that her boyfriend Klaus loves beating her up and stuff.
Soon the two fall in love (queue montage!) much to the dismay of Blanc and the delight of Klaus, and it's roughly about the halfway mark that the twists start happening so I'll stop there. Needless to say that one character goes from being vulnerable to evil, allegiances changes again and again and the hippy vibe of the late sixties shines through loud and clear.
However, Lenzi seems to have had a vision of the state of Italian film ten years later and injected the film with scenes that make no sense whatsoever, for instance the credits sequence. Jean drives about with a rifle in his car and we get flashes of one of his lovers but this has nothing to do with the rest of the film. Plus, Carrol Baker has a velvet lined cabinet in her apartment full of instruments of torture. This has nothing to do with anything either.
On the other side, Lenzi also injects an amazingly high amount of style into the film too, what with an early example of the use of primary colours (soon to be a trend in the gialli) - there's one scene that's stands out when Jean is forced to snog Carrol Baker while someone keeps changing the lighting to various colours, Nicely done.
So Sweet...So Perverse is a classy little thriller and much unlike later Lenzi Giallo's such as Eyeball, almost everything about the film is well done. The film benefits from a good cast, which feature early Lenzi muse Carroll Baker in the central female. Baker's role here initially appears to be a lot like her role in the earlier 'Orgasmo', but she soon gets to switch to a more interesting character. Baker is joined by the sexy Erika Blanc, and like most Giallo's with two sexy leading women; the pair do get to get it on, although you shouldn't go in expecting a full blown lesbian sex scene. Jean-Louis Trintignant rounds off the cast, but isn't given as much to do as the ladies. The plot does get a bit slow at times, but the film never slows down to the point of becoming boring. The second half is much more exciting than the first as that is when the plot gets into full flow. When the twists start to come into play, So Sweet...So Perverse really is an intriguing thriller and unlike many Giallo's, this one also features an ending that wraps most of the plot up nicely. This film is highly recommended to Giallo fans!
The first part recalls a poor man's Chabrol,depicting the luxury world of the bourgeoisie .Trintignant ,a very earnest thespian,seems ill at ease ,but the women often strip bare ,to the viewer's great enjoyment.
The second part is Lenzi trying to make his own "Diaboliques" :the heroine 's first name is Nicole ,like in Clouzot's classic ;it's almost absolute plagiarism -except for the mediocre ending- ,including the "clues" Baker scatters to frighten her mate and to make her believe that her dear husband might possibly be still alive .
Take Dario Argento's movies instead:their screenplays ,though influenced by Hitchcock ,are much more exciting and original.
It also seems to be very well filmed. (It's hard to believe that years later Lenzi would be making nauseating and inept cannibal films like "Cannibal Ferox" or just plain inept American slasher movies like "Hitcher in the Dark"). I say seems, however, because this film is only available on second or third generation copies of Greek videotapes that are not only panned-and-scanned, but are very badly panned-and-scanned so that the characters are often halfway off the screen. Trying to appreciate this movie is like trying to appreciate a beautiful painting that has both sides cropped off and is covered with really murky cellophane (and burnt-in Greek subtitles). If Lenzi's crap movies like "Ferox", "Hitcher", and even, god help us all,"Eaten Alive", can get the star DVD treatment, why can't "Paranoia" or this little gem?
Oh, but I almost forgot--despite the title there isn't too much perversity here. Baker has a lot more nude scenes in "Paranoia". There is some Blanc-related nudity (although, in my opinion, you can never have enough of that), but the lesbian relationship between the two of them is unfortunately only hinted at. Of course, it may just have been cropped out. . .
Lo sapevi?
- QuizSecond part of a trilogy also including Orgasmo (1969) and Paranoia (1970).
- BlooperAerial shots of Jean skiing behind a boat show the stunt double jumping the wake, and skiing, one-handed, far to the side on the open water, switch back and forth between close-ups of Jean-Claude Trintingant, but in the close-ups he is always in the wake, both hands on grips, directly behind the boat.
- Citazioni
Black Stripper: Taking your clothes off isn't any problem, you know, when there's enough loot.
Monsieur Valmont: They say she can be great when she's tight.
- ConnessioniFeatured in Yellow Fever: The Rise and Fall of the Giallo (2016)
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- Punta Ala, Castiglione della Pescaia, Grosseto, Tuscany, Italia(scene by the sea)
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