Una sull'altra

This crime drama from the director who was to become the Italian goremeister about ten years later delivers an interesting story about relationships, jealousy and , of course, murder. In the end, the film even becomes a statement against the death penalty (the story takes place in the U.S.).

Although there are certain elements of giallo in here, I wouldn't call "Una sull'altra" a giallo; it's really a rather classic crime story concerning "indecent affairs" (on which some of the English titles refer).

All in all a good film, although the average Fulci-fan probably will be disappointed about the lack of any gore in this one.

It's hard to believe that this thriller was directed by the same man who would go on to create such gory highlights as Zombie Flesh-Eaters and City of the Living Dead, but indeed this is a film from the Lucio Fulci that us gore hounds know and love. His later Giallo, such as A Lizard in Woman's Skin and Don't Torture a Duckling weren't as bloody as Fulci fans are used to, and this one is even less so; in fact, it isn't even a horror movie. Fulci does find time for graphic images, however, but things such as a badly decomposed corpse look out of place in a movie that is much more about mystery and suspense than shocking its audience. Fulci often doesn't get the respect he deserves when it comes to movie-making, and that's unfair as he really does know how to tell a story. One on Top of the Other focuses on themes of love and revenge, and follows the story of a doctor with a wife who suffers from chronic asthma. After her death, he is enticed to a nightclub along with his mistress, where he meets a young woman who is the double of his dead wife. Shortly thereafter, the corpse of his wife is unearthed and traces of poison are found in the body...

The film takes obvious influence from the great Alfred Hitchcock film 'Vertigo', but unlike a lot of Italian films from the sixties and seventies; this one is not merely a retread of its popular American influence. Fulci injects his own style and verve into the plot, and common Giallo elements such as crossed loyalties and compromising situation for the lead victim start to creep in. The acting on display here is superb, with Jean Sorel putting in a fabulous performance in the lead role in which he manages to captivate the audience and be convincing at the same time. The female leads are more striking; however, and both Marisa Mell and Elsa Martinelli get to act as well providing beautiful eye candy for the audience. Unlike a lot of Giallo's, this one takes place outside of Italy and makes San Francisco the central location. The landscapes look great, and the original jazz music by Riz Ortolani helps to ensure that swinging sixties feel comes across. There is a lack of murders in this film, which may disappoint Giallo and Fulci fans; but the intrigue that appears instead offsets this nicely, and overall I don't hesitate to say that One on Top of the Other is one of the great Giallo films!

Old school giallo with a low body count. this one is not about the gore. it's more concerned with solving a central murder. stylish and sexy. the ending was quite suspenseful. def worth checking out once if you're a thriller/mystery fan

Una sull'altra, which is more likely better known as One on the top the other is hard movie to categorize to a single genre. It has as much erotic and exploitative elements as it has elements from pre-giallos like Mario Bava's excellent Blood and black lace and his older work, Girl who knew too much. It isn't as psychedelic as Fulci's other giallos like Lizard in a woman's skin or as tense as his Don't torture a duckling or Sette notes in nero. Una sull'altra doesn't contain any gore or splatter either. Still, however, I found it very entertaining and I would even say it's one of the best non-gore movies from Fulci I've seen (and trust me on this one, I've seen lots of them too).

Movie follows a basic giallo structure, even though it was made in the same year with "the first actual giallo", Dario Argento's fabulous L'uccello dalle piume di cristallo, and in the way that it doesn't rip-off that movie as many other giallos does. That's why I cannot really say honestly that I found this one to be real giallo, but more like pre-giallo.

What comes to the plot of the movie, it's not really as simple as it might seem, but has many twists and misleads when police are trying to find out how the things really are (who is lying, who is telling the truth). Really nice twists and turns, I couldn't tell at the whole time how did what (and what comes to that matter, even who was who). Ending was really nicely surprising too, I really enjoyed it.

So, if you are bored with Fulci's not as good non-gore movies or if you just want a quick peak to the fantastic world of pre-giallos, One on top of other is highly recommended. At the scale of 1 to 10, I would give it 9, this movie really deserves it.

I would hesitate to class Lucio Fulci's One On Top Of The Other as a giallo: it's lacking that genre's trademark 'leather gloved killer' and creative murders. It is, however, an entertaining if improbable thriller with bags of cool '60s style - definitely one of the director's more accomplished efforts.

Jean Sorel stars as Dr. George Dumurrier, who finds to his surprise that his late wife Susan (Marisa Mell) has left him $2 million richer thanks to a recently acquired insurance policy. The police find this rather strange and investigate, coming to the conclusion that Dumurrier killed his wife for the money. Does stripper Monica, Susan's doppelganger, hold the key to proving George's innocence, and will someone uncover the truth before he is sent to the gas chamber?

A product of the trippy, hippy psychedelic era, One On Top Of The Other features swinging sex and plenty of nudity, a scene at a strip-club where patrons play with balloons (how wild!), an Austin Powers-style photographer with a droopy moustache (You're a tiger! You're a lemur! And I'm spent.), and groovy split screen imagery a la DePalma. It's also got an excellent jazzy score by Riz Ortolani, that adds plenty of pep to proceedings.

There's almost none of the outrageous gore for which the director would become known (just a brief shot of a rotting corpse), but there's plenty of intrigue, with a twisty plot and a suspenseful finalé in which Fulci doesn't let on till the very last moment whether George has been executed or not.

The final scene, in which a radio reporter speaks to the camera and points at various objects as though his listeners can see what he is talking about, provided a few unintentional chuckles as well.