Toutes les couleurs du vice

All The Colors of the Dark is a combination of a giallo, an occult horror and a Roman Polanski style claustrophobic apartment-based thriller. It's possibly director Sergio Martino's most ambitious film from a period when he produced a series of excellent pictures. Unlike Martino's other gialli, this one is much more psychological in approach. It doesn't have a series of murders or anything like that but instead focuses on the troubled world of its female protagonist played by cult actress Edwige Fenech. She is recovering from a car crash which claimed the life of her unborn baby, shortly after this she is menaced by a mysterious man and is introduced to a black magic group by an enigmatic neighbour. The story isn't all that great to be perfectly honest it's the style in which it's presented that's its strength. It's consistently photographed in an interesting way, with unusual angles and good colour schemes. The disorienting camera angles do add to the overall theme of a psychologically troubled woman. The London settings are also used very well indeed – the apartment block and country manor are both very effectively shot. It would also be deeply remiss to not mention Bruno Nicolai's soundtrack. It's a really nice psychedelic piece that adds to the atmosphere very nicely, it comes into its own in the scenes of the cult indoctrinating Edwige Fenech's character into their circle; this scene is one of the best that Martino ever directed, it's pure 70's psychedelic delirium. It's only matched in this movie by the very creepy and bizarre opening dream sequence which includes things like a murdered pregnant woman and a hideous old crone dressed like a child's doll.

The movie is immeasurably helped by the presence of Edwige Fenech. She looks like the definitive giallo heroine here, with her gorgeous mane of long black hair, porcelain skin and big eyes. She is certainly a welcome character to base the movie around and does play the vulnerable victim very well it has to be said. Her co-star, the always excellent Susan Scott, who plays her sister, is sadly underused but at least she's there. The male stars don't particularly shine but Ivan Rassimov has a fairly memorable role as the blue-eyed psycho. Overall, Sergio Martino produced another fine Italian thriller with this movie. I'm not convinced it's his best necessarily, and perhaps it sometimes promises more than it actually delivers. Nevertheless, this one should most certainly please fans of this kind of thing.

There's isn't any black-gloved killer butchering one fashion model after the other with an exceptional weapon here, yet that certainly doesn't make "All the Colors of the Dark" any less of a genuine Italian giallo! This solid thriller, directed by the almighty Sergio Martino ("Torso", "Blade of the Ripper") , benefits most from its extremely stylish cinematography and, of course, the mesmerizing looks of lead actress and reigning giallo-queen Edwige Fenech. With this natural beauty running around hysterically all the time – often scarcely dressed – you almost feel forced to forgive the story for being overly confusing and the violence for being too tame. Jane is a young woman, still recovering from a traumatizing accident in which she lost her unborn child, and suffers from re-occurring nightmares as well as hallucinations of being stalked by a blue-eyed creep. With her lover Richard out of town a lot, others try to help Jane with her mental problems. Her sister recommends seeing a psychiatrist and a befriended girl in the apartment even advises her to join a satanic cult. This last initiative obviously isn't a very good idea, as lovely Jane becomes involved in an occult mess of rape & murder, starring all the people of her unexplained hallucinations. Sergio Martino creates and sustains a powerful atmosphere of paranoia and morbidity, yet it's truly regretful that there isn't any more gore on display. Jane's nightmares are remotely bloody, but true fans of Italian horror cinema require a bit more sadism. There are several suspenseful scenes to make up for this, notably the one where Fenech awakes in a countryside cottage and painfully realizes she STILL isn't safe. The screenplay makes several intriguing twists & turns near the end, just in time to make it a great giallo after all. I have to admit that the first hour of "All the Colors of the Dark" nearly wasn't as compelling and involving as other contemporary gialli. The music is great as usual and, apart from Edwige, this movie also contains great performances by George Hilton, Ivan Rassimov and Nieves Navarro.

You do know that in the real world, the chances of encountering women like Edwige Fenech, Susan Scott, and Marina Malfatti in the space of even a YEAR are almost zilch, right? George Hilton encounters them all in one day. He's an old man now, but I doubt he's got any regrets, and probably still has one of the most enviable wank banks in existence.

Edwige does a lot of 'startled over the shoulder glances' in this one, so if you're a big fan of that you will like this, a quasi-giallo involving that early seventies obsession: the satan worshipping cult. But I'm getting ahead of myself there. The main question of the first half of this film is: If Edwige has flashbacks to witnessing an OLD Ivan Rassimov killing her mother when she was a child, then why does she think a YOUNG Ivan Rassimov is stalking her now?

Needless to say when we first meet Edwige she's a messed up girl (in her head, she still looks immaculate no matter what happens to her) - she witnessed her mum being killed, she lost a baby in a car crash caused by husband George Hilton, and now she can't get it on with him due flashbacks. What's a girl to do? Go see a psychiatrist like her sister Susan Scott recommends? Or join a Satanic cult, drink the blood of a sacrificed dog, and get it on with some smelly hippies? If you thought Edwige's character in Anna, the Mafioso's Punching Bag was gullible, you aint seen nothing yet!

The Satanic cult element is introduced fairly early, but the main mystery of the film is who can Edwige trust? Probably not Ivan Rassimov, as she spends most of the film running away from him, but was is George Hilton up to? Is he a travelling salesman or is he something else? What about psychiatrist George Riguad? Or why does Susan Scott hate George? And what did lawyer Luciano Pigozzi want to talk to her about? Sergio Martino does a good job here of making everything as trippy as possible. The film starts with a bonkers dream sequence involving a floating man in drag and a pregnant woman rubbing blood on her stomach. He chops up the editing at several points so things repeat themselves, shows scenes that may or may not have happened in Edwige's head, and also has Edwige having visions of things that haven't happened yet. You can't go wrong with a good rooftop chase so Sergio throws one of them in too, and actually manages to explain most of what's going on before the end of the film! Except those visions.

That's it - I've now watched every Edwige giallo film (Top Sensation, Five Dolls for the August Moon, Strange Case of Mrs Wardh, Your Vice is a Locked Room and only I have the Key, The Case of the Bloody Iris, All the Colours of the Dark, 1975's Strip Nude For Your Killer and 1988's Phantom of Death). Apart from those, Edwige would appear in a whole lot of 'sexy comedies' that were seemingly the most popular genre in Italy in the late seventies. She would also appear in a couple of Euro Crime films, including Mean Frank and Crazy Tony, which I switched off after ten minutes due to the horrible comedy.

Though typically billed as a traditional giallo, All The Colors of the Dark owes more to Rosemary's Baby than it does The Bird With the Crystal Plumage. The stunning Edwige Fenech plays the lead character who finds herself getting wrapped up in a bizarre cult after a neighbor tells her that it might help her get over some of her issues. Naturally, things don't end well when she starts suspecting that this cult doesn't have the best of intentions.

For those expecting buckets of blood, you'll be disappointed, but the script for All The Colors Of The Dark and much smarter and more thoughtful than a lot of other giallo scripts and is filled with twists, turns, and even some honest-to-God suspense.

Sergio Martino is famous for producing high quality Giallo films and All the Colours of the Dark does that reputation proud! While I cant say that this is as good as the likes of The Strange Vice of Mrs Wardh or the amazing Your Vice is a Locked Door and Only I Have the Key, All the Colours of the Darks stands apart from Martino's other films as it's much more psychological, and spends most of it's running time following a single character. The style of the film is very psychedelic, and this ensures that it always feels very much like a movie from the seventies. There isn't a great deal of actual horror, but this is made up for by the disorienting atmosphere, which ensures that the film is always unpredictable. The film works from a screenplay by Martino's regular collaborator, Ernesto Gastaldi, and it's safe to say that this film is Italy's answer to Rosemary's Baby. We follow Jane Harrison, a woman recovering from the car crash that claimed the life of her unborn child. Her recovery takes a turn for the worse when she finds herself under threat from an organisation of Satanists.

The cast is something of a "who's who" of Italian cult cinema. Frequent Martino collaborators George Hilton and the beautiful Edwige Fenech take the lead roles and the film wouldn't feel complete without them. Edwige Fenech fits the lead role like a glove. She's at her best when she's playing the vulnerable victim, and that is the role she has here. The sleazy George Hilton has been better, and he isn't given much to do in this film; but it's always nice to see him in a Giallo. Cult star Ivan Rassimov stands out as the villain of the piece, while Susan Scott; the beautiful actress who has appeared in films such as Death Walks at Midnight and Emanuelle and the Last Cannibals makes a mark in supporting role. The plot moves well, and Sergio Martino does a good job of getting us behind the lead character. The music and cinematography are superb, and Martino's use of colour helps to ensure that the film has a vibrant atmosphere, which suits the plot well. The climax is a little abrupt, and despite the scene leading up to it; I've got to admit that it left me a bit cold. The rest of the plot is great, however and while this isn't Martino's most successful foray into Giallo; it's still a very good one, and comes recommended.