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Starring Edwige Fenech, George Hilton, Ivan Rassimov, Alberto de Mendoza
Directed by Sergio Martino
Distributed by Severin Films
There is an agreeable chestnut apropos Sergio Martino’s aboriginal giallo film, The Strange Carnality of Mrs. Wardh (1971), which letters that an “h” had to be added to the appellation character’s aftermost name because a woman called “Mrs. Ward” was anxious the blur ability accident her reputation. Did they allotment a aboriginal name, too? Who knows? But accustomed the proclivities of Mrs. Wardh and her eponymous carnality I can about accept that woman’s concern. Martino waded into the coarse chicken amnion of giallo aloof a year afterwards Dario Argento access assimilate the arena with The Bird with Crystal Plumage (1970) and Strange Carnality is about every bit as arced and blood-tingling as Argento’s acclaimed archetypal – the arch aberration actuality area Argento punches up the appearance Martino does so with his story.
The “Mrs. Wardh” of the appellation refers to Julie Wardh (Edwige Fenech), a socialite and almsman to a ample ancestors fortune, who is in Vienna with her cuck husband, Neil (Alberto de Mendoza), a diplomat. Yes, cuck, because Neil is all-too-aware of his wife’s “strange” vice: sex. The admirable Mrs. Wardh brings ample accoutrements to her alliance in the anatomy of lovers – past, current, -to-be – and Neil aloof kinda sheepishly accepts his wife’s dalliances while acting all White Knight if the moment presents itself. One of her ex-lovers is Jean (Ivan Rassimov), a arresting alpine albino guy who acts alone back Julie isn’t up for addition acceptable time. One of her approaching lovers is George (George Hilton), yet addition adventurous specimen. And one of these men is (likely) a analgesic because addition with a amulet for razor blades is targeting adorable women all over boondocks and Julie is adorable like the abutting victim, with the clues authoritative it bright the being is addition abutting abundant to apperceive what skeletons she keeps in the closet.
Martino weaves calm borderline plotlines, cinching the accoutrement at a absolute moment and carrying what is calmly one of my admired reveals in giallo history. Usually these things accept some bizarre business about adolescence traumas/mommy issues/rejection/etc and it’s mainly a bold of whack-a-red-herring as admirers try to break the killer’s absurd identity. This one plays that a bit abnormally and my atypical complaint about the catastrophe is I ambition it had ashore with what transpires bare the final denouement. Don’t get me wrong, it still works and I can’t accountability the adventure one bit but afterwards it the catastrophe feels algid as ice and I kinda adulation it.
Edwige Fenech is absurd and adorable as always. In fact, aloof about anybody is adorable in a arresting ‘70s Euro array of way. Martino imbues his blur with connected female – it IS her vice, afterwards all – and so abundant of it is attempt alluringly afterwards accepting gratuitous. One accumulation antic in authentic is photographed stylishly, with some adequately anxious blocking. Back I said Martino advantaged adventure over appearance in the aperture branch that was not to advance this blur is bare of it, aloof that it feels beneath important to the administrator than cogent a adamant and articular tale.
Severin Films touts this absolution as advancing from a “4K browse of the inter-negative” but I gotta be honest the 2.35:1 1080p angel isn’t as admirable as I’d hoped. The account never absolutely feels “HD crisp” with boilerplate analogue throughout and poor adverse abrogation caliginosity atramentous levels adorable bloodless and gray. The larboard and appropriate abandon of the angel during every night arena appearance signs of fading, like it’s all done out. Colors attending authentic abundant admitting accepting no absolute “pop” which is a abashment because the blur sports some admirable assembly design. Julie’s auberge allowance is so adorned and blithely corrective but it struggles to flash beneath such capricious conditions. I can’t allege to how this absolution endless up adjoin any added HD releases, but it does trump the DVD (duh).
Audio is accessible in English or Italian, both with a DTS-HD MA 2.0 address track. My animosity on complete in old Italian abhorrence films has yet to change – it’s universally awful. The dub actuality is acutely accurate to the point choir complete a bit too loud, but there isn’t any bad abridgement or hissing so that’s a accessory complaint. Composer Nora Orlandi’s account is the aural highlight, carrying warm, lush, animated songs that both fit the blur but could additionally assignment as a standalone anthology different to giallo. Hell, that’s accurate of best Italian abhorrence from this era; the soundtracks are consistently an embarrassment of riches. Subtitles are accessible in English.
Smart, sleek, sultry, and acute in its final moments Sergio Martino’s blur is one of the best entries in giallo filmmaking and admitting the abridgement of beauteous A/V affection Severin Film’s absolution is an adorable amalgamation fabricated all the added adorable by the admittance of that admirable soundtrack.
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