La ragazza del vagone letto

This is a movie for people who don't find the infamous "Late Night Trains" sleazy enough for their taste. Actually though, this movie, while nowhere near as good, is a lot less disturbing than its more notorious cousin because it's just too ridiculous to take seriously. Silvia Dionisio plays the train prostitute. Why an overnight train really needs a prostitute I don't know, but she sure does a lot of business. There's also a criminal who is being transported by Interpol and ends up becoming the protagonist by default(perhaps this was inspired by the original "Assualt on Precinct 13"). The villains are three pathetic w*nkers who are far more annoying than scary. Anyone worth their salt could have beaten the hell out of these idiots and tossed them off the train with their flick-knives in their a***s, but these twits somehow manage to cow all the other passengers and have their way with them--usually sexually.

Sex is pretty much the name of the game here. Besides Dionisio doing what she does best, you have the equally infamous Zora Kerova as a passenger who willingly cheats on her boorish husband with one of the miscreants in the toilet but gets her comeuppance when one of the other guys barges in on them for some additional action (I guess the filmmakers saw "Straw Dogs" too). I don't know where they got the scene with the father who has incestuous designs on his own daughter and is forced to gamble with other male passengers for her virginity (I suppose this kind of sleaze could ONLY have come from Italy). He doesn't win, fortunately; the same sleaze bag who earlier raped Dionisio and Kerova gets the honors (you have to admire his stamina if nothing else). Still, like the rest of the movie of the movie, this scene would have been a lot more disturbing if the "virgin" in question wasn't being played by an actress who looks to be an aspiring porn starlet.

The violence and suspense on the other hand is almost nil. This is grade Z Italian sleaze in every sense of the word, but I guess if that is what you are looking for . . .

I've got to say, I'm a big fan of these 'Last House on the Left' rip-offs, even the ones that most people seem to hate are often held in relatively high esteem by me; but one of these sorts of films that I didn't like much was Aldo Lado's 'Night Train Murders', and unfortunately it would seem that trains and The Last House on the Left don't mix, as Terror Express is another lacklustre rip-off. Something that this sort of film really needs is a resoundingly nasty lead character; and while Terror Express offers up three potential candidates, not one of them steps up and becomes this villain, leaving the lacking in the most important area. It actually gets off to a good start as three young men on a passenger train begin slightly irritating the guests on board. This leads the audience to believe that there is more in store, but unfortunately it never really gets going once the scene has been set. From there, the trio end up 'taking over' the train and use their new found power to terrorise the guests and rape the women.

It has to be said that there's a fair amount of sleaze in this film, which will be pleasing to many viewers; but there's hardly any blood. Director Ferdinando Baldi seemed to think that he could get away with replacing the blood with sex scenes, and he may have gotten away with it too; if he could film a brutal sex scene. The idea that these men have taken the train by force goes out of the window once it gets to the sex, as the people that you would expect to be powerful and forceful seem all too keen to show their women a good time, and despite one very tame 'sandwich' sequence, none of the sex is particularly interesting. Since a lot of the film is taken up by these sex scenes, this becomes a massive problem. Films like this are often lacking in style, suspense and credibility; but you know you're watching a bad one when it's boring you. As you might expect, none of the acting is up to anything; and the central three in particular stand out for being rubbish. The direction is lacking in style, and there's very little tension or suspense; making it difficult to care what is going to happen. Overall, this is a pretty crappy example of an exploitation film, and I can't recommend it.

Terror Express is another entry into the Last House on the Left sub-genre that emerged in the 70s. To its credit its one of the more enjoyable films full of sleazy characters and a top-notch cast. Look out for Zora Kerova's double entry scene, the weirdo father who secretly wants to make love to his daughter, and Carlo De Mejo in an almost hardcore sequence involving the said daughter. Jesus how could anyone ever describe this film as dull? Not for the easily offended for sure but definitely one for the collection of any Italian horror-sleaze merchant.

Directed by Fernando Baldi, this Italian train-bound thriller is pure exploitation, its plot clearly inspired by the success of infamous shocker Last House on the Left and its many imitators (most notably, Aldo Lado's Night Train Murders).

Like so many disaster movies of the '70s, the film begins by introducing us to various passengers destined for a most unpleasant journey, and the three despicable slime-balls responsible for their suffering: David (Werner Pochath), Ernie (Carlo De Mejo) and Phil (Fausto Lombardi). After an excruciatingly long establishing shot of the train leaving the station, the film gradually picks up speed, with the trio of dirt-bags making eyes at all of the hot women, and causing trouble for the conductor (Gino Milli), who makes extra cash by pimping out lovely hooker Juliet (Silvia Dionisio) to the passengers.

The sleaze starts when dissatisfied wife Anna (Zora Kerova, from Cannibal Ferox) allows Ernie to have sex with her in the washroom; the couple strip off and get down to business, but to Anna's surprise, they are joined by David, the men forcing her into a standing-up threesome (one riding up front, the other in the caboose?). Meanwhile, Phil tries to break into Juliet's cabin for a little fun of his own.

One of the passengers, a policeman escorting prisoner Peter (Gianluigi Chirizzi) to Germany, intervenes, but is overpowered by the thugs, who take his gun; Peter is released and his handcuffs used to constrain the copper.

Not sleazy enough for you so far? Well how about this then? Sexy teenager Evelyn (Fiammetta Flamini) is feeling hot, so her father (Roberto Caporali) suggests she gets naked, which she does, before slipping back under her bed covers. Dear dad then goes to visit Juliet, insisting that the hooker wears his daughter's nightdress and lets him call her Evelyn. That's right... dad's got a thing for his daughter! Naughty, naughty!

From here-on in, its continuous sex and general debauchery, until the train stops so that a wheel-tapper can inspect the train, at which point nice-guy convict Peter decides to play the hero and fight back. I was hoping for some satisfying violence to round off the film, the three extremely irritating baddies fully deserving of grisly and graphic demises, but Baldi really fumbles the ball here, his trio of obnoxious jerks killed off in really lame fashion: David is hit by a passing train (at least I think that's what happens; it's unclear and very dark), Ernie is pushed off the train while it is moving, and Phil is stabbed by Peter, the actual stabbing occurring off the edge of the screen.

There's enough depravity to keep most exploitation fans happy for the duration, but the ending needed to be much stronger to qualify the film as a classic of the genre. 5.5/10, rounded up to 6 for IMDb.

"La ragazza del vagone letto" (1980), directed by Ferdinando Baldi, is a quintessential product of its era, merging eroticism with thriller elements in a manner that is both provocative and perplexing. The film follows the story of a young woman who finds herself entangled in a web of deceit and danger aboard a luxurious overnight train. From the outset, it is clear that Baldi intended to create a tense and sensual atmosphere, and to some extent, he succeeds.

The plot unfolds with a series of encounters that are as steamy as they are suspenseful. The lead actress delivers a performance that oscillates between vulnerability and seduction, effectively capturing the complex emotions of a woman caught in an unpredictable situation. Her interactions with the various passengers-each with their own secrets and motives-drive the narrative forward, creating a tapestry of intrigue that keeps the audience guessing.

Cinematographically, the film leverages the confined setting of the train to amplify the sense of claustrophobia and tension. Baldi's direction is competent, though not groundbreaking, making effective use of close-ups and shadow play to heighten the erotic charge of the scenes. However, the film's pace suffers from occasional lapses into melodrama, with certain scenes dragging on longer than necessary, disrupting the otherwise taut suspense.

The erotic elements, while central to the film's appeal, often feel gratuitous. The nudity and sexual encounters, though tastefully shot, sometimes overshadow the plot rather than enhance it. This aspect might appeal to some viewers but can be seen as detracting from the overall narrative coherence. The balance between eroticism and thriller is delicate, and here it often tips too far towards the former, reducing the impact of the latter.

The supporting cast, though not particularly memorable, fulfills their roles adequately. They serve as pawns in the unfolding mystery, each contributing to the labyrinthine plot that keeps the protagonist-and the audience-on edge. The dialogue, laden with double entendres and subtle hints, adds to the film's charm but occasionally dips into the cliché, reflecting the era's cinematic tendencies.

The soundtrack, a mix of haunting melodies and seductive tunes, complements the visual style, though it occasionally overpowers the scenes it is meant to enhance. The film's technical aspects-lighting, set design, and costume-are handled with a level of professionalism that elevates the production value, despite the overall narrative shortcomings.

In sum, "La ragazza del vagone letto" is a film that straddles the line between eroticism and thriller, offering a glimpse into the genre conventions of the early 1980s. While it has moments of genuine tension and sensuality, it ultimately falls short of being a cohesive masterpiece. It is an interesting watch for those curious about the genre or era but may leave others wanting more substance and less titillation.