Tropique du cancer

"Tropic of Cancer," co-directed by Giampaolo Lomi and Edoardo Mulargia, takes us on a slow-moving, otherworldly journey to Haiti. This Italian thriller, disguised as a giallo, weaves together elements of voodoo, betrayal, and murder.

While vacationing in Haiti, a married couple encounters an old doctor friend, Dr. Williams, who has invented a new drug formula. Unscrupulous parties are desperate to acquire it by any means necessary. The stakes rise as bodies pile up, and the film's unsettling atmosphere keeps viewers on edge.

Marcello Masciocci's excellent, colorful, widescreen photography captures the Haitian locations with an otherworldly feel. The film's framing adds to the eerie ambiance, making it stand out within the giallo genre.

Anthony Steffen delivers a solid performance as the conflicted doctor caught in a web of intrigue.

Anita Strindberg's unique beauty and icy cool screen presence enhance the film. Gabriele Tinti adds depth to his character, caught between desire and danger.

The film's blend of Haitian voodoo rituals and giallo elements creates an unusual and captivating experience. It's not based on Henry Miller's celebrated book of the same title, but it carves its own niche.

While "Tropic of Cancer" doesn't reach the heights of some giallo classics, its fresh ideas and unsettling atmosphere make it worth a watch. The film's visuals transport us to Haiti, where shadows hide secrets, and danger lurks in every corner. The haunting score adds to the film's unease, emphasizing the mysterious and otherworldly aspects.

🌟 Overall Verdict: "Tropic of Cancer" may not be a masterpiece, but its weirdness and unconventional blend make it a hidden gem for fans of offbeat thrillers.

Giallos are known to be a little incoherent at times without being a complete mess but this movie certainly is the latter. It's a real mess. Many scenes of the movie look spectacular, especially the outdoor shots in the Haitian streets with full of crowds. The movie's certainly got elements that could have made it into a much better film than it actually is. It's just too bad that the Italian sense for style doesn't always work and this time even the plot stank so bad that it should have been rewritten almost completely. In my opinion the main problem is that the film doesn't engage at all and the pacing is just lame. I didn't care much what would happen to the characters in it. It's a kind of a problem when i was supposed to sit down and keep myself watching the film for its entire length of one and half hour.

The dream sequence with Strindberg and the voodoo priest made me laugh really hard. It's really the moment that was supposed to be surreal and scary but ended up looking like a skit.

What really is disappointing is that how much better this film could have been. I can only recommend this film for giallo fans who don't care much if the film is good or bad.

This is a combination of an Italian giallo and "black sexploitation" film. The latter is not to be confused with American "blacksploitation" films since these films weren't trying to "exploit" a black urban audience but rather the myth of "primitive" black sexuality for the delectation of white audiences. The giallo locale here is shifted to "primitive" Haiti. The plot is almost a "McGuffin". It involves various grasping characters chasing after a new drug a friend (Gabriel Tinti) of the the two married, vacationing protagonists (Anita Strindberg and Anthony Stefens) has discovered. This drugs and voodoo plot is somewhat similar to the later Wes Craven movie "Serpent and the Rainbow", but this is nowhere near as good.

Atypical for this kind of "black sexploitation" this film doesn't have any real black female characters (other than the ones involved in the typical sub-"National Geographic" topless tribal dancing scenes). The interracial thrills are delivered primarily in couplings of black men and white women. The one featured prominently on the poster is a standing sex scene between Strindberg and a Haitain voodoo priest which is actually the climax of a bizarre dream sequence (right out of "Coffin Joe" movie)that is probably the most visually interesting sequence of the film if you can get by the casual racism. The other, more gratuitous, scenes involve the Haitian police chief and his white mistress, but since this particular character is surprisingly three-dimensional and "civilized", these scenes don't quite fit the usual mold either.

The problem isn't that this movie is especially exploitative or racist as these kind of films go, but that it is not particularly effective as a giallo either. Aside from the exotic locale, there is nothing very interesting here. Whatever her charms, Anita Strindberg was not a great actress, and it doesn't help that she's paired with a stiff like Steffens. Speaking of stiff though, the best performance is turned by Gabriel Tinti, the future "Mr. Laura Gemser", who's most famous for having an obligatory sex scene with that exploitation goddess in practically ever movie she ever made (whether he was otherwise in the movie or not). I'm sure all these actors had a nice Caribbean vacation, but the resulting movie is no great shakes I'm afraid.

There are a couple of moments, with a pair of dark trousers, that we could say was like a giallo but the rest of the time it is really rather confusing. There are one or two rather good scenes, as the film was made in Haiti, but it is all a bit of a mess. There are some odd people but the dubbing is even more odd which makes it seem really silly. We have to mention Gordon Felio the rather large man had done a couple of films especially with What's New Pussycat (1965), uncredited as the 'fat man'. Anthony Steffen is usually rather good and was in The Crimes of the Black Cat (1972) and The Night Evelyn Came out of the Grave (1971) otherwise he was in many great spaghetti westerns. Anita Strindberg can be good and certainly her best giallo was Your Vice is a Locked Room and Only Have the Key (1972). Of course she had her breasts enhanced and she usually bares them and also with a 'blacksploitation' moment in this one.

I saw this for the first time recently. The poster looked cool n the review by Coventry regarding the gruesome kill made me see this boring giallo. The only redeeming factor is the hot babe Anita Strindberg, one of the first giallo queens. The babe had a unique chiseled face n sharp features n inspite of being very ectomorph (one can clearly see the breast bones rather than the cleavage), her face was really illecebrous. The film lacks suspense n tension n the weird naked dance n the dream sequence is laughable. The kills r forgettable except for the fatso's face.