Âmes perdues

According to my Aurum Encyclopedia of Horror, Dino Risi's Anima Persa can be read as a critique of filmic realism, as an illustration of psychoanalytic processes, or as a political argument, while the entire film is constructed in terms of a process of splitting or 'doubling, making every identity suspect and undermining any sense of emotional and intellectual security.

What is even more baffling than that load of old twaddle is why the film is in the book in the first place: it's not a horror. It's not even a giallo, as some have described it. No-one gets killed. At all. In fact, no-one suffers so much as a stubbed toe. Yes, there's a madman in an attic, but all he stabs with his carving knife is a watermelon. Which might be scary if you're a watermelon, I suppose, but I'm not, and I doubt you are either.

Set in Venice, the film sees teenager Tino (Danilo Mattei) go to stay with his Aunt Sofia (Catherine Deneuve) and Uncle Fabio (Vittorio Gassman) at their sprawling but run-down home. At night, Tino hears strange noises and suspects that someone is living in the attic, which turns out to be true: Fabio keeps his crazed brother Berto there, under lock and key, rather than commit his sibling to an asylum. After this revelation, the plot goes nowhere slowly, with Berto locked in his room, occasionally appearing at the door peephole covered in paint and waggling his tongue.

Tino becomes friendly with Lucia (Anicée Alvina), the pretty life model at his art classes, Uncle Fabio bickers with his wife, and Tino sees his uncle's wild side on a night out on the town. No-one gets killed. In the film's final act, Berto's real identity is revealed and a family secret comes to light. I repeat, no-one is killed.

N. B. Vittorio Gassman actually plays a gas man, Fabio having worked for a Venetian gas company.

I ended up watching this movie after reading the book from which it was adapted, written by Giovanni Arpino. Adapted by Bernardino Zapponi and enriched with some aspects, it has not lost the charm of the novel. The director did an excellent job. Halfway between gothic and dramatic, it gradually reveals its cards, leading the viewer towards the end. A film almost forgotten today but that deserves to be seen, also for the interpretation of its protagonists. The great scenic couple formed by Vittorio Gassman and Catherine Deneuve is impressive. Anicée Anlvina also intrigued me. An Italian film that deserves a chance, of that I am more than sure.

"Anima Persa" perhaps isn't the strangest film I have ever seen, but it's definitely in the top 10. The difference is, however, whereas most strange films are pretentious and just plain dull, this is one of the most fascinating and haunting motion pictures ever made. I've seen "Anima Persa" listed as a Giallo, but it really isn't one. It's not because a film is Italian, made in the 70s and set in Venice, that it's automatically a Giallo. It's one of those movies that are nearly impossible to classify.

For his art studies, 19-year-old Tino goes to Venice, where he moves in with his aunt Sofia and his uncle Fabio in their old but imposing mansion. His stay starts out wonderful, as he falls in love with the school's resident nude model Lucia, but at home things are a psychological nightmare. Fabio is a tyrant with insane ideologies, Sofia is petrified of her dominant husband, and locked away in the attic lives Fabio's mentally deranged brother. The plot doesn't seem to have any more twists in store, and yet it builds up further to an almost unbearably tense climax. I honestly didn't see the final revelation coming, even though - afterwards - it seems so logical. Admittedly the ending also raises many questions, but one thing's for sure: it's utterly astounding and 200% unique.

The two great names in the cast, Catherine Deneuve and Vittorio Gassman, give away stellar performances. Even though their characters are unpleasant, and most of the time you would just like to slap them both in the face, they form a tremendous pair. The other cast members are excellent, too, notably the ravishing Alvina and Ester Carloni as the cocky old housemaid Annetta. "Anima Persa" is a unique experience. It's not horror, but more atmospheric and unsettling than most horror. Only the great Italian directors, like Dino Risi, could accomplish this.

This Italian-French co-production could easily be thrown into the Italian giallo genre of the time, but it is really a pretty unique film that differs from other films in that genre in several major respects. First off, it is much more of a big-budget, arty affair with big-name actors like Vittorio Gassman and Catherine Deneuve, and a director who had just come off a big international art-house success with "Profuma di Donna" (the original Italian version of "Scent of a Woman" which also featured Gassman). It's also much more obscure than most giallo and was never clumsily dubbed into English. Mostly though it has a plot that actually makes sense and it develops slowly and subtly--quite a contrast from the hysterical tone and overwrought style of most gialli.

A naive young man studying art in Venice comes to stay with distant relatives, an elderly uncle (Gassman) and a somewhat younger aunt (Deneuve). In "Jane Eyre" fashion he discovers that his uncle is apparently keeping his insane brother in a secret room in an attic. His curiosity is piqued and he begins to investigate with his new artist model/girlfriend (Alcinee Alvina), and quickly discovers that all is not as it seems with his mysterious relatives.

You have to have a little patience with this film (especially if you're expecting a typical giallo). The atmosphere builds up slowly, but ultimately quite effectively. There is no graphic violence at all and no sex (aside from a memorable nude scene from the gorgeous Alvina). The final revelations at the end though are as perverse and disturbing as anything you'll find in any other giallo, with intimations of child abuse, incest, and the dual nature of man. Without giving too much away, this movie ends up being one of the best, most faithful adaptations of a certain classic story by R.L. Stevenson that I've seen. It's very hard to find, but find it.

Amina persa is sometimes considered to be a Giallo by cult fans; in my opinion, it isn't although there are shades of the genre thrown in. The film is more along the lines of a Gothic mystery and reminded me a lot of the classic Spanish film The House That Screamed. Amina persa is a very high quality film; the acting and production values are superb, and while the script can go a little over the top at times - the whole thing comes off very well and the film could easily go toe-to-toe with any art house flick. Like Nicholas Roeg's earlier classic, Don't Look Now, this film takes place in Venice. We focus on a young man named Tino who is taking an art class in the city and goes to stay with his aunt and uncle that live there. It soon becomes apparent that all is not quite right with the pair, and the mystery deepens as the young man begins hearing strange noises at night. It's not long before he considers the out of bounds staircase and the room at the top of it, and discovers that in fact there is someone else living upstairs...but that is only the start of the shocking revelations.

The film is very slow build, but director Dino Riso keeps things interesting thanks to the tension emanating from the three central characters. Contrary to the pace of the film, the first twist is revealed very early as we discover the identity of the person living in the 'forbidden room' upstairs, but the film has much more than just that up it's sleeve and the revelations get more interesting as the film moves along. Amina persa is bolstered by a trio of great performances from its lead stars. Vittorio Gassman is excellent as the imposing uncle, while the beautiful Catherine Deneuve is convincing as the melancholy aunt. The central cast is rounded off by Danilo Mattei, who is good in the lead role though is overwhelmed a bit by the two more experienced performers. The atmosphere of the film is fantastic and without doubt one of it's strongest elements; the house in which everything takes place cuts an imposing figure and provides an excellent location. The final twist does become obvious just before it happens, but the film keeps it's cards close to it's chest up until that point and overall; this is a fantastic mystery horror film and comes highly recommended (if you can find it!)