O Louco Desejo

Carroll Baker plays a woman who falls for the wrong guy who torments her along with his demented sister so that they can drive her mad. For a giallo film, it's only a slightly more stylized classic gaslighting thriller, but there's enough sex and nudity to remind you that you're watching an Italian thriller.

This is another prime example of why alternate titles, especially for late 60's and 70's European thrillers, create a lot of confusion and – to some people – even aversion. Not only did Umberto Lenzi direct two films called "Paranoia" in the short span of just two years (moreover starring the same lead actress), but also how do these two titles possibly relate to each other? Paranoia and Orgasm? What the hell is the connection? I can easily imagine that certain types of audiences will pass simply because they fear that the film will just be as incoherent & random as both the titles. And in that case they miss out on another excellent and amazingly stylish euro-crime thriller/giallo by the most versatile filmmaker of Italy! Don't pay any attention to what Roger Ebert wrote in his review (what the hell does he know, right?), as "Paranoia" is a great film with a solid plot, complex characters and a really huge portion of genuine suspense. The adorable cult siren Carroll Baker is very convincing as the timid woman moving into a large & isolated country mansion following her millionaire husband's sudden death in a car accident. Whilst her befriended attorney arranges the further formalities regarding the will, lonely Kathryn falls in love with the handsome and free-spirited Peter. She takes him into the house and his equally free-spirited sister Eva soon joins the couple as well. The cheerful times of parties and unconditional sex rapidly end, as Peter & Eva start to blackmail, torture (physically & emotionally) and drug her. The depiction of Kathryn's agony is truly harsh and uncomfortable to observe, especially because you honestly care for her persona. You're hoping that the tables will soon turn, yet whenever you think Kathryn's rescue is near, her suffering actually grows more intense. Lenzi succeeds in making his film amazingly compelling and even manages to save up some excellent (albeit abrupt) twists for the big finale. They're not particularly plausible but at least they're original and rather dared. "Orgasmo" contains very little violence and explicit sex, especially compared to Umberto Lenzi's later repertoire, but the film relies a great deal on its atmospheric settings and music. The cameras elegantly swift through the wonderful filming locations, guided by suitably sultry songs and instrumental tunes. Our director sometimes does exaggerate a little with his "hallucinating" camera trick and close-up angles, but that's easily forgiven. Carroll Baker is simply terrific and Lou Castel makes a very impressive villain. It's a great movie and I can clearly understand why Lenzi himself counts it among his personal favorites. Highly recommended.

This movie is not for everybody. Fans of the director Umberto Lenzi's cannibal films might be disappointed that no one is eaten alive, no women are hung up by their breasts via ridiculous-looking special effects, and no innocent animals were slaughtered in real life for their amusement. Instead you have a clever suspense movie that is well-photographed, well-acted, directed with panache, and, dare I say, even a little bit classy. Others may find actress Carroll Baker a bit on the voluptuous side compared to the poster children for anorexia and bulimia that pass for actresses today (and you may very well be blinded by her tan lines). But this is THE Carroll Baker, for christsake! The sex and nude scenes are pretty are tame by today's standards, but were very risqué for the time. This was a groundbreaking film that helped usher in both the Italian gialli and the free-spirited European sex films of the 70's.

The plot of this movie is somewhat similar to the recent film "Swimming Pool". A somewhat older, recently-widowed woman (Baker) is staying alone in an isolated Italian villa owned by her sleazy lawyer when she is seduced by a local gigolo and his "sister". At first, the diabolical pair just get her to loosen up and enjoy life again, but then they start to blackmail her and torture her (and possibly the viewer) by playing the same song over and over again until she starts to go crazy.

I liked almost everything about the movie (even the strangely catchy song), but the America version has this ridiculous deus ex machina ending-- because, of course, the evil-doers MUST be punished. Maybe if this is ever released on legitimate DVD, someone will dig up the European version (maybe put both on the same DVD like they did with "Delerium"). Oh well, whatever, check it out.

Orgasmo radiates the glossy decadence of late-sixties Italy, weaving together sun-drenched luxury and creeping psychological menace. The film's greatest asset is its atmosphere: the camera glides through a lavish villa and its lush grounds, capturing both the seductive beauty of the setting and the claustrophobic tension that slowly builds within its walls. Cinematographer Guglielmo Mancori uses vibrant colors, elegant pans, and frequent close-ups to create a visual style that is both alluring and unsettling. The effect is heightened by moments of psychedelic excess, zoom-ins, off-kilter angles, and red-tinted lighting, that mirror the protagonist's spiraling mental state. While some of these stylistic flourishes border on the heavy-handed, they undeniably contribute to the film's distinctive mood, evoking a sense of disorientation and unease that lingers long after the credits roll.

Carroll Baker, as the recently widowed American socialite Kathryn West, delivers a performance that anchors the film. She deftly balances vulnerability and sophistication, making Kathryn's descent into paranoia and confusion both believable and sympathetic. Baker's expressive face and subtle shifts in demeanor convey a woman gradually losing her grip, and she remains compelling even when the script falters. Lou Castel, playing the enigmatic Peter, brings a sly, unpredictable energy to the role, his charm tinged with menace. Colette Descombes is memorable as the mysterious Eva, though her character is more a catalyst for chaos than a fully realized presence. Among the cast, Baker stands out; her portrayal elevates the material and ensures the audience remains invested in her fate.

Despite its visual flair and strong performances, Orgasmo stumbles in its pacing and narrative originality. The film's plot, built around seduction, manipulation, and psychological torment, unfolds with a sense of inevitability that undercuts the intended suspense. The story's twists are telegraphed early on, and the limited number of characters makes the outcome relatively easy to predict for seasoned viewers. At times, the film leans too heavily on its modish style and erotic trappings, sacrificing depth for surface pleasures. Still, Lenzi's direction keeps the tension simmering, and the film's mod soundtrack and glamorous production design provide ample entertainment for fans of the genre.

Once again we have some disparaging IMDB user comments for a euro-or-otherwise-foreign-source film that does not conform to the user's safe, comforting criteria for narrative structure, sound (in this case the dubbing -- which is actually not bad), or subject matter.

This film is an extremely entertaining psychological thriller with Carrol Baker excellent as a rich American widow getting away from it all at a secluded Italian villa. Enter smart aleck down on his luck playboy, Lou Castel, who has some golddigging motives behind his slick hipster seduction techniques and has no qualms about how he gets what he wants. He encourages Baker's character's incipient alcoholism and dubious self-esteem, brings in his supposed 'sister' to help drag Baker even further into a maze of sick mind games, drug addiction and group sex, all culminating in a descent into near-madness and self-destructive depravity.

I won't give away anymore, suffice to say that the film delivers on its swinging sixties, Euro sleaze ambience and psychological suspense thriller credentials in spades. Director Umberto Lenzi's work has been, at best, uneven and he's churned out his share of crap. However, he made some quite good giallos and crime pictures in the sixties and seventies and this is one of them (other good films by Lenzi -- SPASMO, SEVEN BLOODSTAINED ORCHIDS, ASSAULT WITH A DEADLY WEAPON, to name only a few).

Unfortunately this film is ofen confused with another okay but not-quite-as-good Lenzi film that was also released briefly here in America under the same PARANOIA title (but is more commonly known, especially on video, as A QUIET PLACE TO KILL).