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.
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.