Dans les replis de la chair

This movie is completely over the top! Why and how it escaped getting played around the world, on the midnight circuit, is beyond me. It's like someone made a soup out of a Spanish Soap Opera, a Giallo, Gothic Thriller, and a Film Noir... It's loaded with ridiculous double crosses, kinky incest (is it incest?), countless decapitations, pet vultures, plot twists that make little to no sense, random Freudian Psychology, and extraneous WWII Concentration Camp flashbacks! The score is over-dramatic, as is the acting, and just about everything else. It certainly can't be taken seriously, but that's what's so appealing. Don't be fooled though, if it's the Classic Bava, Martino or Argento-esque formula you're looking for, that's not what you'll get. Despite that it is often listed and cited as a Giallo. This movie came out in 1970, when the genre was just beginning to take root, so while it's certainly got all of the necessary elements to be classified as 'Gialli', the elements are scattered, appearing in different places in the plot than is common to the traditional Giallo formula. That said, it could be of interest to hardcore fans in that respect. That's how I came upon it, and I'm not upset. Think something along the lines of Luciano Ercoli's "Forbidden Photos of a Lady Above Suspicion" or even Lucio Fulci's "Perversion Story," only much more ridiculous! Wonderfully ridiculous, psychedelic and melodramatic. Wow.

Italian gialli are famous for their ridiculously complicated (and frequently absurd plots)and their "pop", late 60's pseudo-Freudian psychology. This movie though pushes both of these to the most extreme limits. The basic plot here involves a rather dysfunctional family consisting of a trouble woman (Pier Angeli), her governess, and her governess' equally troubled son all of whom may have been involved in the murder/disappearance of the family patriarch. Several different people show up and try to blackmail them for money and sex and wind up being killed in ways that are both gruesome (lots of decapitations)and increasingly ridiculous (there's a rather tasteless subplot involving Nazi gas chambers). The finale involves several sudden twists, each more preposterous than the last. There are several quotes from Freud in intertitles (complete with English-language misspellings) and the usual liberal sprinkling of sexual psychopathology--incest, Elektra and Oedipal complexes, borderline pedophilia, etc. This movie will probably confound newcomers to the giallo film, but people more familiar with the genre will no doubt appreciate it.

Pier Angeli is especially good in a dual role, or actually a triple role considering that she plays one of the characters as both an adult woman and an adolescent girl (the latter no mean feat considering the actress was in her late 30's at the time). Tragically, she would commit suicide not longer after this movie came out. The co-writer Mario Caiano would direct the very similar "Eye in the Labyrinth" and, not surprisingly, some of the other people behind the camera were later involved in the indefensibly trash Italian Nazi sexploitation cycle.

Oh, and by the way, the title "In the Folds of Flesh" actually refers to the folds in the brain, not what some of you dirty-minded folks out there might think.

Well there's a homicidal 35 year old woman (I think they're trying to pass her off as 20-something and it really does not work out) and she's completely mentally incompetent. She has an incestuous relationship with her artistic brother, and while the mother looks continually disapproving she just allows all of the murder and mayhem to go on, even bothering to clean up the bodies for her kids. And as I've pointed out, she must have had her daughter when she was 9, because she can't be more than ten years older than the murderous loony in the blonde wig.

There are hints of giallo in the flashbacks and the death of the father at sea, but I do not consider this a giallo at all. It's some weird cult film from the late 1960s that took a bunch of ideas and threw them together in a salad of shame. It kind of reminds me of how The House of Exorcism is an inferior version of Lisa and the Devil. I honestly wish there was a coherent, superior version of In the Folds of the Flesh in the same manner of the ludicrous House of Exorcism, but I guess this is it.

After being released from prison, a criminal intending to blackmail the family of a suspected murder he witnessed years earlier only to find the family a far more demented bunch than he expected while a mysterious killer running complicates his quest and forces his plans to change.

This was quite the interesting yet silly giallo. Part of the film's appeal lies in the dual nature of the film which starts right at the beginning with such a goofy and nonsensical setup. In order to buy into the film in general, the utterly contrived storyline at the heart of the film has to be taken into account and that presents this with a daunting challenge off the bat by being forced to accept this idea. This setup does spring forth plenty of typical giallo fun so it does have a lot of worth with the way it brings this together in order to fulfill the genre requirements which is what makes for a decent enough time here. The constant shadiness and general air of sleaziness usually found in these films is in full effects here, from the madness and paranoia at the beginning over what the body being buried really means, the childhood trauma at the center of the rampage and the remaining scenes of just outright odd behaviors they all indulge in that ranges from the dancing and incest just combines together into one utterly odd effort. This makes what happens in the end when the efforts of the family finally get revealed in a series of utterly ludicrous setups that attempt to explain the actions of the plot which piles on more twists and surprise reveals than an entire season of a regular soap opera. It is clear that these various twists and turns are meant to come as a complete shock which is only because it's downright incredible that anybody would ever see them coming as the material is so haphazardly put together this never comes close to jelling into a whole. That these manage to drive the film away from being a typical giallo with the incredibly overwrought sequences found within that just don't make any sense with all the different revelations being brought out in the endless series of flashbacks that reduce the kill-count significantly by having dispatched of the killer earlier in the film. That this spares us having to watch more of the utterly atrocious special effects is perhaps a blessing with the film running through such a truly atrocious series of special effects work that is completely comical rather than shocking due to the painfully obvious mannequin heads. Although there's some brutality to mention in there with the intent behind it, these here are what hold it down somewhat.

Rated Unrated/R: Graphic Violence, Full Nudity, Language, a rape scene and drug use.

On a dark and stormy night an escaped convict on the run witnesses a beautiful woman burying a body while a young boy looks on. He is captured by the authorities and returned to jail. Flash forward to several years later where the boy, now a young man, lives in a villa with his Mother and a girl who is either his lover or his sister, it's hard to say. His Mother was the mistress of a criminal who disappeared years before. Or is that "disappeared"? Is everything as simple and straightforward as it first appears? A guest arrives claiming to be a long lost relative. Are they telling the truth or do they suspect something about a hidden secret? So begins 'In The Folds Of The Flesh' an almost forgotten Spanish exploitation thriller that continually twists and turns. Full of surprises, trippy imagery, and an unexpected Nazi flashback, this is recommended to fans of Jess Franco's classic 'Succubus' and similar 60s/70s European sexploitation. It may not reach Franco's over the top absurdity and sheer strangeness, but it has a lot of fun trying, and I enjoyed it a great deal.