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This is one of the better-known giallo titles, if mainly for the presence of two of the more luscious "Euro-Cult" starlets – blonde Barbara Bouchet (whom I saw, still looking good, quite a few times at the Italian B-movie retrospective held during the 2004 Venice Film Festival!) and brunette Rosalba Neri – in perhaps their role of greatest significance; it goes without saying, then, that the film's piece de resistance is their celebrated slow-motion love scene (which actually occurs very early into the proceedings)! With a generic if definitely attention-grabbing moniker that has no direct bearing on the plot, the movie has been given many an alternate title – such as MURDER MANSION and HOT BED OF SEX, depending on which aspect the respective distributors chose to spotlight (for the record, the Italian original translates to IN THE PURSUIT OF PLEASURE); incidentally, the English-dubbed and regrettably panned-and-scanned VHS-sourced copy (as a result proving soft and occasionally battered) I watched boasted no credits apart from the names of the picture itself, Bouchet and leading man Farley Granger! By the way, the film marked the second of three giallos the American star appeared in back-to-back (I watched the others, which I quite liked, only a few days ago) but, though I felt he delivered surprisingly committed performances in all of them, once again this one afforded him the meatiest characterization. Having said that, it makes for a good transition between SOMETHING CREEPING IN THE DARK (1971) and SO SWEET, SO DEAD (1972) – featuring elements from each, specifically the old dark house setting and a high sleaze factor respectively! The premise is simple enough, with heroine Bouchet insinuating herself into the Venetian household of renowned novelist Granger and his much younger wife Neri, in order (unbeknownst to them) to probe into the disappearance of their secretary – her colleague/flatmate/lover!; it transpires that the outwardly respectable wealthy couple leads a libertine existence, given to stag parties fuelled by drug-taking and the exhibition of snuff movies: starting to involve a dim-witted brute in their exploits, one day things turn sour and it is the secretary who gets the short end of the stick (no pun intended)! The local Police are aware of Bouchet's undercover 'mission' but, soon enough, she realizes that her employer is too – since the plot of his new novel begins to parallel the events that had taken place in the house and, more importantly, indicate what her own fate will be (a blackmailing servant is similarly gotten out of the way)! To further muddle the waters, Granger pretends to fall for Bouchet (thus getting a piece of the action himself for once!) – in fact, two of the film's highlights involve the depictions (via flashback confessions) of the former secretary's death and the disposing of the body; another – this time around a recollection by Bouchet – is a skinny-dipping episode (which goes a bit beyond that) involving her and the murdered girl, and yet one memorable sequence is the climax (planned to be a reprise of the secretary's unlucky demise, the tables are smoothly turned on the perpetrators: Bouchet had met the couple's unwitting associate during a chance but cringe-inducing encounter where he, a fisherman, had nonchalantly flayed a live eel in front of her and she even treated his injured finger!). As was often the case with the "Euro-Cult" style, one of the lasting ingredients here is Teo Usuelli's score which is versatile enough to suit the film's many changes of mood.

'Amuck' is a stylish and erotic Giallo thriller with a simple yet effective storyline that creates some genuinely suspenseful moments and brimming with sexual tension, all of which is bathed in a stunning yet hypnotic dreamlike atmosphere. The pace could have done with a little tightening, but there's enough on display for even the most avid fans of the genre.

The plot centres around Greta Franklin (Barbara Bouchet) who takes a new job as a secretary to novelist Richard Stuart (Farley Granger) on a secluded island with his wife Eleanora (Rosalba Neri). But Greta's really to investigate the disappearance of her friend who also worked for the couple and soon enough Greta finds herself the target of the couple's erotic desires and quite possibly her life's in danger.

The movie is a hell of a lot of fun with excellent direction and great writing both by Silvio Amadio who creates a compelling narrative and infuses the flick with fantastic energy especially in the tasteful seductive scenes without coming across as trashy as well as putting in plenty of red herrings and twists and turns to keep the momentum going. The movie isn't perfect by any means as there's a few dull moments here and there and the climax could have been a lot less predictable, but the fantastic cast more than makes up for the movie's short comings.

The performances are fantastic here with Barbara Bouchet and Rosalba Neri providing engaging performances with excellent chemistry together and totally stealing the show. Farley Granger also provides a solid performance as the male lead, but he's totally overshadowed by the female leads.

Overall 'Amuck' is a steamy seductive thriller with plenty of style and entertainment and a firm highlight of the Giallo genre.

A twisted tale of control and seduction involving the lovely Greta (Barbara Bouchet) who is hired by a perverted writer Richard with an even more kinky wife, Rosalba. Greta however has a reason for being there as her friend/former lover Sally who happened to be the previous secretary hired and who has disappeared. On the way to discovering what happened to Sally, Greta has various adventures from being drugged and seduced by the bisexual wife in a wonderfully surreal, slow motion scene to almost getting swallowed up by quicksand whilst being "hunted" in the marshes. Interesting movie to say the least.

The stunningly beautiful Barbara Bouchet plays Greta, who gets a job working as a secretary at the large house of writer Farley Granger with the motive of solving the disappearance of her friend/lover Sally, who had previously been employed there. In my opinion this is borderline horror/giallo. There is no gloved maniac killing people off and the few deaths, when they do happen, aren't especially gruesome. In terms of horror we get a couple of raging thunderstorms, a very good night time disposal of a corpse and a rather bizarre incident of psychic powers. But that's about it. However, what this movie does have is lots of female nudity, including a couple of lesbian sex scenes. Like many Italian movies of this time it is beautifully filmed, the reflections of Venice in the water being particularly stunning. There's a fair amount of suspense, especially when Greta explores the house. Plus it has a great 70's euro groovy, jazzy, psychedelic score. This one won't tax the brain and like I said, may disappoint some giallo or horror fans, but it's visually it is highly enjoyable. No masterpiece but well worth seeing.

While labeled as a grindhouse movie, there is not that much wrong with "Amuck". For it's time it's decently acted, filmed and edited. It also isn't shy on showing nudity which I leave to you to decide is that good or bad. However, as a thriller, other than it's OK premise and some creepy atmosphere greatly achieved by decent use of music, "Amuck" fails to be either thrilling or entertaining to make it a good movie. Problem is that our heroine is very bland and she is seldom in real danger. All in all, "Amuck" is passable, sure, and it stands out from sloppily made exploitation movies from those times, but other than that, "Amuck" is just something for genre fans. It's far from the worst thing to watch, but it's also far from something you just have to watch before you die. 6.5/10!