The Possessed (1965)

Wow! Such a good movie.

Fantastic!

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The film never slows down or bores, plunging from one harrowing sequence to the next.

This movie is about a writer that takes on a trip to the place where he use to go to write in hope of meeting the girl that was maid in the hotel last time he was there.He finds out she is dead and that it possibly is murder and not suicide as the official explanation is. Then he starts to search for the truth about her fate and very few clues is found during the movie and very few events that really make the story interesting. In the end all is explained though.I think the camera work and acting is fine. For me the story was after an interesting start just as exiting to follow as it is to read a newspaper. I would not recommend this movie to people where the story is the important thing. I think it is most for people that enjoy some certain style of black and white movies.

A young writer Bernardo (Peter Baldwin) decides to come back to a small town, set nearby a lake, where he had previously stayed and met a attractive maid and waitress – Tilde (Virna Lisi). The place is desolate then, as the action takes place in winter and the tourist are not particularly interested in this place at this part of the year. Bernardo is in search for peace and quiet and this is why he has an intention of having a rest there and working on his new book. However, after some time it dawns on him that, actually subconsciously, he wants to meet the beautiful waitress. He plans to rediscover her and starts searching, after which he is informed by the owner of the hotel about her mysterious death… This is often considered to be one of the earliest examples of giallo genre, along with Blood And Black Lace (1964). In spite of this fact, this cannot be considered, just like later effort by Bazzoni, masterful Footprints On The Moon (1975), to be a typical mystery that made a pattern for all films of this genre, as it differs drastically. In addition to this, the flick is more likely to remind Blow Up (1966) by Antonioni than The Bird With Cristal Plumage (1969) or Deep Red (1975) by Argento. The main character appears to be lost in the world of his own illusions and enquires himself what is real and what is just his imagination, just like David Hemmings in Antonioni's masterpiece. While Michelangelo Antonioni is more interested in general subject of perception and human identity in the world, in which being a witness is a very relative phenomenon, Bazzoni avoids such topics and focuses on delving into Bernardo's mind. Our protagonist himself is not a witness, he's just implicated in a twisted affair surrounding this town. To render psychological aspect even more visible and more articulate, the director utilizes a very slow pace and we can hear our character's thoughts. Owing to this, the viewer is able to follow all the vacillations of the main character and follow all possible ways of Tinde's demise accompanying this mystery envisioned by Bernardo. What is more, Bazzoni exploits black-and-white cinematography which makes things even more fascinating. To sum up, all these elements give it a very distinctive look and it is far from a simplistic murder mystery and the film becomes a sort of a psychological drama. At the end, nothing seems to be concluded and unraveled in detail. In spite of the fact that Bernardo's explanation is the most probable, there are plenty of additional subplots which suggest that many things remain obscure and inexplicable. Thanks to an exceptional editing, chilling sequences of dreams and flashbacks merged together, the ensemble looks terrific.Therefore, nothing is certain in this flick. The whole plot is shown from the Bernardo's point of view, along with his visions and dreams. This render everything not only a murder mystery, but also a great psychoanalysis of the Bernardo's mentality, exposing all his fears, desires and his vague relationship with Tilde whose personality we get to know through his memory. Thus, this subjective nature and unusual perspective make it so extraordinary and riveting. The script itself isn't the biggest advantage of this picture. If it was made by somebody else, it would possibly be a flop. Fortunately, on account of tremendous direction by Bazzoni, his visual style, exquisite taste for creating adequate atmosphere of anticipation and ambiguity, The Possessed (1965) (La donna del lago) is a true gem.The cast is nothing special, but all of the actors manage to achieve a satisfying level of acting artistry. Peter Baldwin, a little known television actor, gives a quite decent performance. There are a couple of familiar faces: such as Phillipe Leroy, known for his roles in Yankee (1966) by Tinto Brass, and Salvo Randone from Investigation of a Citizen Above Suspicion (1970) by Elio Petri. Their roles are rather a minor ones, as Peter Baldwin is the most important character and the action revolves around him.Overall, La donna del lago (1965) might not be as visually striking as gorgeous Footprints On The Moon (1975), nonetheless it's a very impressive little movie that should be more known than actually it is. The story itself is nothing really new, but the way it is executed makes this one refreshing and worth a look. Luigi Bazzoni attaches a great importance to a psychological aspect of characters in the film and owing to this outshines many other flicks in its genre. Now, it remains only a hidden gem and sadly it seems there is no possibility to popularize it in the nearest future. Pity. This deserves to be more prevalent.

First, let's get this out of the way... there are no zombies! No zombie-like characters. No people under the mysterious influence. It's a simple murder mystery with lots of intentional confusion.Second, let me be pretentious for a minute. The dream scenes were stylish, but overwrought. The plot was thin and padded. Characters went nowhere.OK, so what's so great? Honestly, I don't know what to tell you. The acting wasn't first-rate. The locations were passable. The directing was scattershot. The ending was too pat.But... if you didn't read this review first, you might think you were to see a ghost story. So, from that point of view, it's both tense and a letdown. Tense, because you're waiting for the kick in the gut, a letdown because it's just another mad hatter on the loose.Now, I saw the 82m cut, not the purported 95m, so maybe there were some boffo scenes that I missed. Probably not.Hey, is it "proto-giallo"? I watched "Four Flies on Grey Velvet" right before this, so I'll say "maybe." 1965 isn't exactly "proto."

I saw this on late-night local TV in the early 70s, tolerably dubbed, under the title LOVE, HATE AND DISHONOR, and was immediately taken by it's eerie, VAMPYRE-like style.It never played on TV again, and in the late 70s to 90s I searched for it in vain. I did catch a reference to it under the title Possessed in the Encyclpedia of Horror Movies.Finally found a poor quality English-subtitled VHS a few years back from VideoSearch of Miami and enjoyed it once again. I guess I have to add two more lines of text to meet the minimum requirement to post. I hope this is enough