Femina ridens

A young journalist, kind of a tame 60's Euro version of a feminist, finds herself kidnapped by a deranged male artist. He shows her photographs of a number of a women he claims to have killed, and promises to do the same to her when he's finished having his way with her. She seems to develop a case of Stockholm syndrome and soon becomes his willing playmate. But at the end neither of the them turns out to be what they initially appear (to give you just a hint, this movie is alternatively called either "The Frightened Woman" and "The Laughing Woman"). The plot of this movie resembles both the earlier film "The Collector" and the later "The Story of O", but it is very different from either. It also somewhat resembles the contemporary Japanese "pinku" movies, but is much more tame. Like other Italian movies released by Radley Metzger's Audobon Films (i.e. "La Matriarca)it kind of resembles one of Metzger's own films as well, but it is really its own unique creature.

With the possible exception of Metzger's "The Punishment of Anne" (which I've never seen) this might be the best version of a B-and-D/S- and-M film. (Granted, that's not saying much). This movie works as a B-and-D fantasy because it really explores the relationship and the ever-shifting nature of power between the dominant and submissive partner, and also because, even more importantly, it STAYS at the level of fantasy. In America they are so nervous about this subject for some reason that it is actually illegal to tie someone up in a hardcore porno movie. This may not be such a bad thing though because in countries like France and Germany, which have no such compunctions, the introduction of a hardcore footage into a B-and-D plot creates a jarring realism so at odds with the psychosexual fantasy that the whole thing, far from being exciting and disturbing, is mostly just silly and stupid. (There are also, of course, plenty of people who actually live this "lifestyle", but the less said of them the better).

The much more subtle, even tame approach really works here (for me). I especially enjoyed the pop-art set design and the kind of Freudian obsessions that were big in those days (i.e. one of the artists sculpture's looks like giant vagina dentata). The movie really doesn't get much more racy than Dagmar Lassender dancing around in an unraveling paper dress (but then again you ought to SEE Dagmar Lassender dance around in an unraveling paper dress), or more violent than some of the slide photographs the artist shows of his previous murder victims(which may not be genuine). I'm sure this arty and rather mild movie will disappoint both the serious porn addicts and the truly perverted S-and-M/bondage freaks, but for all of us curious (but not THAT curious) Euro movie fans it's a pretty decent way to go.

Every once in a while us cult Euro freaks stumbled upon something that could genuinely be classified as a hidden gem. The Frightened Woman certainly falls into this category. Unlike many similar sexploitation films from the time, this Italian effort is pretty obscure and relatively unknown. Its recent DVD release has went some way to address this of course, and it's a very good thing too as this is a superior genre effort. In fact, I would have to say that it's one of the very best examples of Eurotica full stop. What differentiates this one from most others is in its very stylish look and feel. The set design is terrific throughout, with great décor and excellent use of colour and lighting. The cinematography is extremely good throughout which only accentuates things even more. It really feels like one of those glorious Italian movies from the period that combined psychedelia with pop art and a slice of surrealism. It means that this picture is very much a product of the time. This of course, is naturally a huge plus point and can be taken as a recommendation in itself.

The story involves an S&M relationship between a rich misogynist and a captured woman.

The film stars Dagmar Lassandar who is one of the unsung greats of Italian genre cinema. She starred in a number of great films from the likes of Mario Bava, Lucio Fulci, Ricardo Freda and Luciano Ercoli. This is undoubtedly her best role though. Her sex appeal is utilised very well throughout, peaking with a tremendous scene that can best be described as 'Lassandar's dance', where she grooves on down to some Europop in a glorious extended scene. The music throughout by Stelvio Cipriani is superior, some of the best he ever did.

The Frightened Woman is an unconditional recommendation to all fans of cult Euro cinema of the psychedelic/pop art type. It's bizarre, effortlessly cool and sexy.

From today's point of view it is quite ridiculous to rate this film 18 (or X in the US). The film has a sexual, yet sublime erotic story to tell, but the pictures are rather innocent. Throughout the movie you feel and see the spirit of the late 60s and early 70s in the fashion, the dialogues and the typical experimental cinematography and lighting. And this is exactly the part that makes it worth seeing.

As with FOOTPRINTS (1975), I became aware of this one purely by accident: it was mentioned in a review of THE LIBERTINE (1969), which I researched when that film turned up on late-night Italian TV, as being in a similar vein; incidentally, I missed out on that screening of THE LIBERTINE (though I acquired it via the same channel later on) but did manage to watch the film by way of a rental of the English-dubbed R1 DVD during my sojourn in Hollywood in late 2005/early 2006. Actually, in view of the enthusiastic reviews for it, I was let down by THE LIBERTINE – being too light-hearted in nature for what was essentially a serious theme (the sado-masochistic relationship between a young couple)!; to be honest, for much of the time, I was afraid that THE FRIGHTENED WOMAN would go the exact same route…but was subsequently amply redeemed by a wicked (if not exactly unpredictable) final twist.

The film concerns the freethinking social attitudes and dazzling creative arts prevalent in this era: an eminent philanthropist (Philippe Leroy) invites a female journalist (Dagmar Lassander) at his fashionable home for the week-end; however, it transpires that he’s a misogynist who distrusts all members of the opposite sex and would rather dominate (or even kill) them! Therefore, for the first half of the narrative, we see the heroine enduring pain and humiliation at Leroy’s hands (including being forced to make love to a dummy in his own image!)…until the tables are subtly, but unsurprisingly, turned: she not only emancipates herself from his control, but teaches him that Man and Woman can co-exist harmoniously – except that Lassander’s following her own personal agenda as well!!

The leads are perfectly cast, and the film itself often darkly comic for those in the mood; furthermore, it’s greatly abetted by a typically effervescent “Euro-Cult” score (from the ever-reliable Stelvio Cipriani) and the imaginative – even outré – look (the giant structure depicting the lower section of the female form, with a steel-trap where its sexual organ should be, seems to emanate from Freud: incidentally, this prop figured prominently in stills I’d seen previously from THE FRIGHTENED WOMAN…but it barely registers in the film proper!). Other bizarre touches include the preposterous radio program “Sexual Aberrations And The Stars”, and an idyll at a castle belonging to Leroy’s family complete with secret passage through the wardrobe and a dwarfish manservant. One of the highlights, then, is easily Lassander’s erotic dance virtually in the nude – an episode which actually spearheads the ‘humanization’ of Leroy; eventually, the two characters have a ‘showdown’ in the latter’s pool – amusingly set to a Spaghetti Western-type theme!

In the long run, for all its stylishness, the film emerges as inferior to the similar but much more extreme contemporaneous Japanese masterpiece by Yasuzo Masumura BLIND BEAST (1969). Finally, it’s worth noting that THE FRIGHTENED WOMAN was distributed in the U.S. by film-maker Radley Metzger’s company Audubon Films; he would even employ its production designer (Enrico Sabbatini) for his own CAMILLE 2000 (1969)! To get to the edition I watched: apart from the usual shortcomings in the English-dubbing department, the presentation here was further marred by a rather washed-out appearance and brief instances of distracting extraneous noise on the soundtrack! By the way, there seems to be some confusion with respect to the film’s running-time: its length given on various sources ranges anywhere from 84 to 108 minutes – all I can say, however, is that the copy I own ran for 87 minutes!

It could not have come from a different country nor from a different time. This movie simply oozes psychedelia influenced late 60s Italian cinema. So, pseudo serious and sexually free. Sumptuous settings and dreamy music make this a visual and aural delight. Plus we get the lovely Dagmar Lassander, surely at her very best looking. The kinky goings on make for a wild ride and if the romps amidst the Mimosa towards the end seem overlong it is but another rather charming trait of the time. You were probably expected to split those few minutes between the screen and your girlfriend and it does of course herald a twist in the proceedings. It might have been better if Philippe Leroy didn't look quite so odd with his fraying red hair and twisted facial expression. He does well though and has many silent moments where Dagmar is cavorting and he has to show a mixture of love and hate. Not an ordinary narrative film by any means but for those who like that something different, this is certainly that.