La peur au ventre

Following a brutal crime spree, a police detective investigating a strange killer targeting unfaithful wives and adulterous spouses finds that a potential witness may help solve the case and tries to protect her when the killer starts to torment her while continuing his spree.

This was quite the fun if slightly problematic sleazy Giallo. One of the more impressive acts here is the fact that there's a decent investigation wrapped around the strong sleazy thrills. With the introduction of the photography storyline in the crimes and using that as the main basis for catching the culprit, this one offers up the kind of traditional Giallo trope needed to drive the storyline forward with some extra notes that lead rather nicely based on the confines of the action here especially once it starts to signify the killers' chosen targets as that is a nice difference from most others who go for random victims at the start before the spree is found out. This addition makes for some fun as it builds that up into the remaining segments that play off this section of the storyline. Those stalking scenes are really fun, from the first encounter chasing the victim onto the beach from her apartment, appearing in the bedroom of the victim and chasing her into the bathroom for the final murder or to the tense sequence of the wife getting ambushed inside the backyard and ending up having the whole affair witnessed secretly by the daughter which is a rather enjoyable highlight offering. A dispatch on a train speeding through the night is incredibly fun as well with the darkened compartment hiding the killer rather well, and a later scene featuring the killer striking a victim in a bathtub only to then have the husband arrive and alter his exit strategy makes for a thoroughly enjoyable and tense sequence. As these scenarios allow for a constant stream of nudity and softcore fondling in showcasing their carnal exploits before the nude bodies are shown to be hacked to pieces, it gives this a rather fine sleazy air which all make for a rather fun genre effort. There are a few problems with this one, though, in that the film mainly employs a rather distressing hypocritical air that doesn't come off that appealing. Going off on the idea that the victims are being punished for straying from their husbands, a double-standard emerges when the male characters are also shown to be doing the same thing yet they never run into any kind of retribution because of it. Depicting them as heartless and needing to pay for their actions yet allowing the men to be okay with it gives it quite an old-fashioned air and tone that openly condemns their actions even though all the extramarital affairs are given loving, leering close-ups to see their full-on nudity. It's not a very welcoming tone for a horror effort and takes a lot of air out of the film as well as the fact that there's quite a long time in between many of these deaths as the investigation takes over to the point of ignoring a lot of other aspects here that don't make for an enjoyable time here. These hold it back even though it does have some worthwhile points.

Rated X: Continuous Full Nudity, strong sex scenes, Graphic Violence and Language.

This is yet another giallo helmed by a little-known director; the suggestive but actually deceptive original title, which translates to REVELATIONS OF A SEX MANIAC TO THE CHIEF OF THE MOBILE SQUAD, would lead one to believe that this is very low-brow stuff indeed – however, the end result (propelled by a pounding Giorgio Gaslini score) is not bad at all. Besides, there is a good cast on hand: the obligatory American 'star' is once again Farley Granger (looking remarkably more mature than in SOMETHING IS CREEPING IN THE DARK [1971]), but then we have what can best be described as cameos by "Euro-Cult" regular Silvano Tranquilli and three of its luscious starlets – Sylva Koscina (playing Granger's wife), Femi Benussi and Susan Scott; all the females are made to shed their clothes, with the latter two even involved in surprisingly explicit sex scenes! Incidenatlly, along with STRIP NUDE FOR YOUR KILLER (1975; also with Benussi), this was the most erotically-oriented genre effort I have watched so far; in fact, the movie under review was subsequently re-assembled and distributed as outright hard-core material under the moniker PENETRATIONS (but Granger understandably – and successfully – sued the producers over it)! The plot sees the traditional black-gloved killer targeting a small town's apparently unending population of cheating wives (leaving as calling-card photos of them caught in flagrante, albeit with their respective partners' face clinically erased); in this respect, it also emerges as one of the more moralistic giallo entries (at least, this time around one is spared the usual pursuit of the proceeds of either an inheritance or an insurance policy!). By the way, the film even foregoes the last-minute explanation of the killer's motives which concludes (unsatisfactorily) many a giallo – though, in view of just this unexpected striving for satirical relevance (which proves rather vapid nevertheless, given the sheerly exploitative elements by which it is surrounded), here was perhaps a case where one would have liked to know what made this particular person tick (a gratuitously deranged morgue attendant had been made to fit the bill all along, but the real culprit was not too far off the mark anyway)!!

I'm not sure I've ever seen this and had got a blu-ray of Code Red from the US and was pleased that I got it. It is not brilliant but rather good and the dead girls are very naked for their killings. And rather nasty knifings they are, the killer is certainly in the classic style with black coat, big hat and of course black leather gloves. Roberto Bianchi Montero made many different films but I think this was his only giallo and was 65 at the time. Farley Granger is impressive and the girls lovely especially Sylva Koschina and I always love to see Nieves Navarro (Susan Scott). It was an interesting idea that the naughty girls get it and the end is really good as we get to see Farley looking on!

Someone is the classic giallo uniform (hat, gloves, raincoat, stocking over the face) is murdering the adulterous wives of the upper classes and leaving pictures of their crimes at the scene. Try not to focus on the men in this situation getting off without punishment - just go with the flow.

A moustachioed Farley Granger is on the case, which quickly becomes a serial killer case when another unfaithful woman is stalked, in slow motion, on a beach, then slashed to death. Farley finds pictures scattered about that crime scene too, although the offending male always has his face scored out. Who could be putting paid to the pampered people of the pompous populace?

So everyone that's rich is knocking boots with each other, we find out as all the surviving ladies have a naked massage thing going on. Silvano Trinquili is having it off with his neighbour, whose husband is crippled, and when she's murdered, her husband stupidly falls down a flight of stairs and dies, which may be the most pointless random death in a giallo I've watched to date.

Oh, and there's the obvious red herring. Played of course by Luciano Rossi, this red herring is the guy who prepares the corpses - he loves running his hands over them and speaking to them and tells the policeman that they are at the most beautiful in this state. I think the character's name was Reddo Herringi.

Although it is packed full of naked women, the plot kind of plods along bumping off people here and there. The ending is a cracker however - one of those out of nowhere endings you get in Italian cinema (see Black Turin for another one I didn't see coming). This is one of those gialli that you'll get to once you've watched the more interesting ones.

One of the things I like in the gialli is their mixture of sex and crime - you can have your thrills and watch at the same time beautiful women with scanty or no dress at all being pursued and killed - their eyes bulge in terror, they scream, their beautiful arms try to defend themselves and finally they lie still .... so sweet... so dead! Very politically incorrect, I know! But we can't deny that we all have our darker side - personally, in real life, I don't like violence, but in my imagination many things can happen - I can even fly!

Other attractive thing in the gialli is their sense of improvisation - as they are made mainly on a low budget, many times, friends and relatives are called to act in minor roles, or to work in the crew. This is why "So sweet, so dead" (Rivelazioni di un....) transmits a feeling of spontaneity. Scenes like a party in a house, friends playing volleyball etc. feel natural. There are also some comic touches added here and there and Luciano Rossi gives us his usual dose of weird humor. Women are getting undressed most of the time, and some, as soon as they undress, get killed. I think you already know the plot: A serial killer is murdering all the unfaithful wives in a well-to-do circle.

The final scene is somewhat shocking! It seems to condone the killer's feelings, if not his actions. If you take the film seriously, you won't like it. Take the film as it is, with its fast and active camera work, lots of female flesh and thrills, and you can't go wrong.

Accuse the film of misogynistic or of whatever you want. Explain me just one thing: Why is it that beautiful women from all over the world went to Italy to get barbarically killed in the gialli? Just answer me that. Enjoy!