CommentsXp Best movie ever!

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

christopher-underwood With such a wondrous English title, the presence of Gloria Guida and Dagmar Lassander and the Amuck director at the helm, how could this go wrong? Well, actually I like it but I seem to be in a bit of a minority. I suppose Dagmar is passed her prime and not all the close ups are as great as they might have been, plus a lot of the acting requirements are beyond the lovely Gloria. Nevertheless this is hardly the frothy, sexy nothingness one might expect and for all the limitations is always interesting, with plenty going on and a really nasty edge, with the Guida character scheming to come between her father and his new woman. Lots of cars, sex and cigarettes and always has that mid seventies look and sound. Always enjoyable.

lazarillo I didn't know quite what to make of this. It was directed by Silvio Amado who is most famous for the sexy Italian giallo "Amuck". This movie isn't really stylistic, deliriously plotted, or violent enough to be a giallo, however. On the other hand, it's not exactly a serious drama either. It's definitely pretty sexy--Gloria Guida looks good naked and she is naked A LOT. And there's the usual gratuitous Italian lesbian scene between Guida's character and her stepmother-to-be(!)played by Dagmar Lassander. This movie kind of reminded me of the French film "L'Annee des medusas", but it's not nearly as well-photographed or deliciously nasty. If you really have a thing for barely-legal Italian starlets, gratuitous nudity, and gratuitous lesbianism, you might want to check this out. Otherwise, I wouldn't bother.

Andrew Leavold Italian sex drama loaded with manipulation and mind games, in which bored spiteful heiress Angela (Gloria Guida) engineers the downfall of her new stepmother Irene (Dagmar Lassander). She initially uses her hippie gigolo boyfriend Sandro (Fred Robsham), who resembles a young Klaus Kinski, to attempt to seduce Irene. Angela then discovers a lesbian shadow in Irene's past and exploits in to the full by showering in front of her, showing her nudie pictures of her with other girls, and finally pouncing on her at the shorefront while Sandro takes polaroids. Angela has an attack of conscience later but Sandro doesn't, revealing the gory details to Irene before the devastating finale.Gloria Guida was Miss Teenager in Italy in 1971 before she went on to specialize in frothy sex comedies or sleazy dramas like this, and preens, pouts and plots her way through the role like a continental Linda Hayden. In 1975 alone she was in over 7 films, including two more for prolific director Silvio Amadio, best remembered for the ultraviolent giallo Amuck (1973) with Barbara Bouchet and Farley Granger. But Euro-sleaze fans tend to agree her best role was in To Be Twenty (1977), a seedy piece of nihilism from director Fernando Di Leo.

hae13400 A beautiful teenage girl, Angela, somehow pathologically loves her father, Dr.Batrucchi, so that she naturally hates his refined girl friend, Irene. And when the situation becomes worse partially because Irene herself is somehow problematic, Angela begins to obsessionally think about the indirect way of killing her... This Italian film is not exclusively so-called psychoanalytically oriented, still is at least psychoanalytically explainable one. The leading theme, or only one theme, of the film is so-called acting out, namely, regressive discharge of instinctual energy. Angela seems to have the typically adolescent addict to action, but the main problem is her acting out by its very nature has the forfeiture of her capacity of mastery.Leaving that question, this film has no twisted element; ongoingness of its story is almost every film-lover can expect to be. In the last scene, as one can easily expect, something bad happens to one of the female characters, and then sudden rain pours over her. This rain becomes to be most impressive phenomenon this film has mainly because the very film almost unnecessarily stresses it. If one can think this is liquefaction of self-punishableness or something like that, (s)he can be satisfied. But one thinks this is simply unnatural or melodramatic, (s)he can be disappointed to a certain degree. As a whole, this film can be called Giallo only in the ambiguousness of the very word. At least this is not a typical Giallo.