Thriller - Um Filme Cruel

I have by accident found this movie, and I saw Tarantino was inspired by this movie. I have to say for the most part, the movie was pretty fun. I was looking for something goofy and fun as HOBO WITH A SHOTGUN, MACHETE, and PLANET TERROR, and this movie fits into that boat easily.

However, i got one negative for this movie; and that's the pacing. My God, the killing scenes (except the last one), are for whatever reason so prolonged it's really annoying. It completely pulls you out of an interesting movie. They really didn't need to add the slow mode effect so many times. :P

What makes this movie so awesome is the fact that our main hero, she's a mute. So everything seems way more awesome cuz you do not hear a single word from her, and she's a badass. I was NEVER really bored during the movie, except for the killing scenes, which is a huge plus.

If you are into goofy movies like Planet Terror and Hobo With A Shotgun, you must add this to your collection.

Exploitation cinema in all its glory, or not, depending on your own personal peccadilloes! Directed, written and produced by Bo Arne Vibenius, Thriller - en grym film (AKA: They Call Her One Eye) is an infamous picture for a number of reasons, reasons that would take a whole page to write about. So use your mouse and google it because this review isn't interested in dabbling in such fare.

Plot sees a young Madeline raped by a paedophile and rendered mute by the experience. Into early adulthood and Madeline (played superbly by soft core porn starlet Christinia Lindberg) unwisely takes up the offer of a lift from the odious Tony (Heinz Hopf). Pretty soon she's addicted to heroin and working as a prostitute. However, Madeline is biding her time, for she has plans, plans that spell doom for all her abusers.

Does this film have artistic merit? Absolutely! In fact if you take out the inserted pornographic close-ups, which are pointless since we already know what Madeline is going through (a supposed marketing tool of the era apparently...) then this is a kick-ass film. It's a two parter, where the first half shows all of Madeline's misery, with sexual disturbance and body horror, then we switch to Madeline's fight back, where we get one of the coolest anti-heroines of 70s exploitation. She's sporting an eye patch, a glorious black trench coat, and weapons, oh yes! There are weapons, hands, guns and cars, oh my! It's here where Vibenius asks the question about justifiable revenge, whilst the super slow-mo approach to the violence will either be viewed as indulgent or classy (I'm with the latter camp).

It is what it is, grungy and grimy, operating in a specialist niche of cinema, but worthy in that it didn't conform, and it has proved influential. It's just not a date movie or something to watch with you mom! Right, I'm off for a bath. 7/10

THRILLER: THEY CALL HER ONE EYE (Bo Arne Vibenius - Sweden 1974).

This is pretty dark and distressing stuff. Apparently Sweden does have some other cinematic export products besides Ingmar Bergman and Bo Widerberg. This strange and quite original exploitation gem by Bo Arne Vibenius recently got a little more attention (if only a little) because of Quentin Tarantino, who paid homage to this film with KILL BILL and called it "the roughest revenge picture ever made". For an exploitation-flick, it's not that rough at all, but it definitely has some very potent scenes but nothing really gory, and most of all, the blood and the fighting look so deliciously fake, I doubt anyone could take it as very disturbing. Most of the time, nothing really happens at all, but there's a certain atmosphere that makes the film strangely compelling.

A young girl (Christina Lindberg) is growing up mute after a childhood sexual assault and spends years working on a remote farm. After missing the bus one day, she is picked up by a seedy well-dressed man who kidnaps the girl, gets her addicted to heroine, cuts her left-eye out, and forces her into slavery and prostitution. Any other girl would give in, but not this one. She seeks vengeance, and, fortunately, has the weekends off, so she can learn martial arts, race-driving and military weaponry.

In some earlier comments I noticed people were put off by some hardcore pornography, which there was in the earlier DVD-release under the title THRILLER: A CRUEL PICTURE. Distributor Synapse decided to release the tamer, but still quite brutal, American version THRILLER: THEY CALL HER ONE EYE, which is the only version I have seen. I cannot imagine hardcore pornography would improve the film, so I suggest watching this "softer" version instead.

This is not a film for those who want fast-paced action, snappy dialog or basic storytelling and since the main character is a mute girl who doesn't have a single line in the entire film, it does require some patience. And don't expect any ingenious fight scenes because the girl learned martial arts. The fight scenes are filmed in extreme slow-motion, quite tedious. The film also bares distinction in having a very strange sound mix by Ralph Lundsten, who composed a very memorable music score that one distinctly associates with this film, quite unique. Needless to say, the film was made on a shoestring, but Vibenius does show cinematic flair in the use of locations (on Öland) and some truly magnificent shots. What about that shot with the camera on top of a police car between the two sirens? Sheer beauty!

Hard to compare this film to anything I've seen. Well, it's a Swedish revenge-flick, so how many of these are there? It's unlike anything made before at the time (and up till now, supposedly). A film with some - mostly budget-related - shortcomings, but by any means, a genuine original.

Camera Obscura --- 7/10

The 1973 violent Swedish revenge film Thriller: A Cruel Picture, also known as They Call Her One Eye, greatly influenced Quentin Tarantino's Kill Bill and you can see why even with only one eye.

The film has rather racy full-on penetration sex scenes, which were apparently popular at the time, done by body doubles, they actually work and match well intercut with the real actors performing simulated sex in something other than the usual dull missionary position movie sex scenes.

It's a quiet film with little or no score, set in a Swedish small town with perhaps the world's most ineffective police force and most unobservant neighbors ever, pay no attention to that shotgun killing across the road.

Gaps in logic galore in the story of an innocent young ginger girl left mute by a childhood rape who becomes addicted to heroin by a vicious pimp and enslaved into prostitution before honing her skills in hand-to-hand combat, guns and stunt driving before at long last taking her bloody revenge.

Ridiculous yet one of the better cult films I've seen.

Complete with gratuitous hardcore insert shots and cadaver eyeball mutilation, 'Thriller–A Cruel Picture' certainly earns its reputation as a true exploitation classic. Unfortunately, a drawn out final third, featuring some clumsy action scenes and the occasional unintentionally funny moment, ultimately drains the movie of some of its power.

Beautiful Swedish star Christina Lindberg plays Madeleine, a young mute woman who is kidnapped, hooked on heroin, and then forced to work as a prostitute. After clawing her first customer in the face, she is punished by Tony, her sadistic captor, who, in a particularly nasty scene, uses a scalpel to blind her in one eye (this realistic moment was reputedly achieved with the use of an actual dead body!).

After her injury has healed, Madeleine returns to work, with an eye-patch to hide her injury, and reluctantly complies with Tony's demands, sexually satisfying a variety of sleazy clients (bonus sleaze points are awarded here for inter-cutting graphic penetration shots with those of Ms. Lindberg, to make it appear as though she took part in the adult action).

As a reward for her good behaviour, Madeleine is given two wraps of heroin a day, a percentage of her takings, and Monday's off (a pension plan is not offered!).

However, after the suspicious disappearance of her friend, fellow 'hooker' Sally (who vanishes, leaving behind a blood-soaked bed), the one-eyed, smack-addicted beauty decides to get even with Tony, her abusers, and anyone else who has given her grief. She spends her free days learning self-defence, extreme driving, and marksmanship, and, once she is proficient at all three, embarks on her mission to exact bloody revenge.

Everything that leads up to Madeleine eventually kicking ass is extremely well done and delightfully sordid, just as an exploitation film should be. The pace is leisurely at the beginning, but never bores, with the sex, drugs and violence all explicitly depicted. Plus, the delightful Lindberg spends a lot of her time naked.

Where Thriller does suffer is in its latter scenes, where a shotgun toting, leather-coat and eye-patch wearing Madeleine blasts her victims to kingdom come. Director Bo Arne Vibenius opts to film most of the shootings in such excruciatingly drawn-out slow motion that it's possible to pop out to the kitchen, fix a sarnie, make a pot of tea, and still get back to your seat before the body hits the floor. Imagine the gun-fights of Peckinpah or Woo at a quarter of the speed, but nowhere near as stylish, and you'll have an idea of what I mean.

A final act of revenge is set in a suitably bleak environment and ends the film as one would expect—with 'one-eye' settling the score with Tony, in a slow and painful manner. Madeleine is seen driving towards the horizon as the credits roll.