Libido

'Libido' is a slick and stylish gothic Giallo thriller with a foreboding atmosphere and a well-executed narrative that sustains momentum right up until the chilling climax. The movie is simple yet effective with its slow and deliberate pace which may not be for everyone, but there's enough suspense and tense moments to keep you engaged and thankfully the movie doesn't outstay its welcome.

The plot = Christian (Giancarlo Giannini) returns to his ancestral home where as a boy he witnessed his father murder a young woman and now as a man he's plagued by those memories and worried that he'll turn out the same way.

The opening scene does a fantastic job of setting up what's to come. The direction by both Ernesto Gastaldi and Vittorio Salerno is strong with an interesting and well written premise. The cast performances are also strong with Giancarlo Giannini providing a great and believable lead with a very captivating performance. Dominique Boschero is also fantastic in her role as the wife. Mara Maryl is a standout in her role as Bridgette and finally Luciano Pigozzi also gives a solid performance and rounds off this small cast rather well.

Overall 'Libido' is a solid Giallo thriller that fans of the genre should check out if you're a fan of well-made psychological thrillers.

Haunted by a terrible tragedy, a young man brought back to his family's old home by his wife and friends finds his long-held belief in a legacy of family-led mental disorders has come to bear when they succumb to strange happenings and must try to keep him sane in order to leave.

This was quite the troubled if enjoyable Giallo effort. What really tends to hold this one down is the fact that a vast majority of the film is based around the idea of his past coming back to haunt him without anything actually happening. It plays like a stodgy Gothic chamber-drama more than an actual horrific effort, filled with long- winded scenes of him monologuing about the past and his fears of its recurrence in his personality followed by their increasingly incessant pleas for him to regain his sanity, leaving this one incredibly dry and long-winded for much of it's running time. Even being distracted by the elaborate Gothic setting or the inviting mystery at hand doesn't really offer up much as it becomes quite obvious early on that little is actually happening with such long stretches of time between action, and the repetition of these events merely reinforces this since that's what happens for a large part of the film. Due to the lack of more traditional Giallo-based elements, that really leaves this one with the seriousness of its set-up to sustain any attention in the first half and that causes this to feel way too drawn-out for way too long throughout this section of the film. Once it becomes more involved with the idea that the father has returned and it starts in on some rather more lively antics there's some likable work at play here as the preponderance of Gothic architecture and settings makes for a suitably chilling scenario to base the kind of psychological torment-style plot that this one hinges on as it does follow the kind of stylistic plot- points needed for that kind of payoff to occur. The walk-throughs of the castle-grounds thinking back on the events he experienced as a child that plays over the whole affair, the sight of the figure off in the distance of the castle grounds who disappears before they can offer any kind of identification of the figure leaving behind only the footprints on the carpet and the later discovery of the dead body in their midst play off quite effectively here. The film really hits its stride, though, in the final half-hour which is where it really starts to get interesting with the revelation of who's behind the whole affair and their intentions which sets up some rather fun action in the house as everyone tends to reveal their true intentions all leading up to the great shock at the finale that makes for a rather nice ending. Still, the overall blandness on display does hurt this one considerably.

Today's Rating/PG: Mild Violence.

Even with all the renewed interest in Italian gialli these days, it's a little unfortunate that this one will probably never be re-released on DVD because it is one of the few gialli filmed in black and white. And that's too bad because it is really an excellent little film. A young boy sees his father murder his mistress during a bondage session in a mirror-filled room. The father apparently commits suicide by jumping off a cliff (although his body was never found)and the boy eventually ends up in a mental hospital. Years later as a young man he returns to his childhood home with his wife, his lawyer, and his lawyer's sexy girlfriend. A number of strange things begin to happen and the man begins to suspect that his father is still alive.

For much of the movie it is tantalizingly unclear whether the man is still insane (a la "Repulsion"), the other characters are trying to drive him insane to get their hands on his father's inheritance (a la "Gaslight"), or the father really is still alive. The story is excellent and unusually logical for a giallo, and the end includes some delicious twists. Not surprisingly, the director Ernesto Gastaldi would go on to become one of the most famous screenwriters of these kind of films. Of course, he doesn't quite have the visual panache of more famous gialli directors (i.e. Bava, Argento, Fulci, Martino), but some scenes, particularly the ones in the room of mirrors, are pretty memorable.

Gianni Giancarlo is the name actor, but he was pretty young here and seems to play his role a little too seriously. The best thing about this movie though is Maria Chiavetti (Gastaldi's wife)who plays the lawyer's girlfriend. Not only does she give the movie all its sex appeal by dancing in lingerie or strutting around in a kitty-cat bikini, but she provides a lot of Marilyn Monroe-style humor. And while her blonde airhead status would seem to mark her as an early victim, she plays a big part in the surprise twists near the end, proving more charismatic and versatile than the soon-to-be-famous, but here pretty one-note, Giancarlo. And she also apparently was the one that came up with the original idea for the story. This is impressive film, and the version I saw (in Italian with English subtitles) looked great.

Four people arrive at a seaside mansion, which is the ancestral home of one of the party - a young man who witnessed his father murdering a woman there when he was a child. Various antagonisms exist between the characters and to make matters worse, there is a hefty inheritance at stake - isn't there always?! And will history repeat itself in the form of murder?!! Do you know what, it might just...

This very early giallo owes more to the likes of the French classic Les Diaboliques and Hammer psychological thrillers such as Taste of Fear, than it does Mario Bava's early giallo proto-types, The Girl Who Knew Too Much or Blood and Black Lace. To this end, it doesn't have a maniac on the loose scenario and instead focuses on a small cast, where the central character is so emotionally vulnerable that we are not sure if they are being driven mad or insane to begin with. It's a fairly basic and minimalistic movie in a lot of ways but it does have some visual black and white elegance and nice touches such as the mirrored room. The small cast isn't bad either with future Hannibal and Bond actor Giancarlo Giannini suitably intense as the psychologically damaged son, giallo regular Dominique Boschero a welcome presence once more as his wife, character actor of dozens of side roles Luciano Pigozzi is successfully shifty once again as the lawyer and Mara Maryl (who came up with the idea for the film!) romps about in bikinis as the resident fox. But what may define Libido most of all in giallo terms, is that the most prominent screenwriter of the genre, Ernesto Gastaldi, was given a rare opportunity to direct here. He doesn't do a bad job and the film, while a bit unexciting for the most part, does have a fairly diverting final third where events do ramp up a bit. Its no classic but it's a nice example of a very early Italian thriller.

With a six letter title ending in 'O' and a central character who is clearly mentally unstable, I was expecting Libido to be heavily inspired by Hitchcock's Psycho, but the film actually has more in common with French classic Les Diaboliques (1955), the plot involving two women conspiring to drive a young man crazy so that they can claim his inheritance.

When Christian Coreau (Giancarlo Giannini) was a child, he witnessed his father kill a woman before committing suicide; this left Christian more than a little twitchy and fearful that he might follow in his father's footsteps. Shortly before turning twenty-five and inheriting his dead dad's fortune, Christian returns to his childhood home with his wife Helene (Dominique Boschero), his lawyer Paul (Luciano Pigozzi), and Paul's wife Brigitte (Mara Maryl). While there, Christian starts to see strange things that gradually loosen the few screws he has left.

Fans of this kind of thing won't take long to figure out what is going on (although I wrongly assumed that Paul was in on the act as well), but even though the whole thing is rather trite, it's still a fair amount of fun, not least because the two actresses are rather tasty and spend a lot of time scantily dressed. The ending is also rather neat, with several twists taking it beyond the expected. I've read several reviews calling this an early giallo, but I think that anyone hoping for such will be a tad disappointed: it's more of a mystery/thriller, and not a bad one at that.

6.5/10, rounded up to 7 for Mara Maryl's pussy cat bikini. Miaow!