Libido (1965)

The film makes a home in your brain and the only cure is to see it again.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Blistering performances.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Beginning with a quote from some bloke called Freud that is mainly irrelevant to the film that follows, four people travel to an isolated seaside mansion. It includes the current owner who twenty years before had witnessed his father kill someone in the mansion, his wife, his friend who is also the estate manager and his wife too. Then the plot unravels this way and that to a satisfying conclusion. There are only four characters in the film but even with that number the script manages to keep the viewer guessing. The acting is good enough and Carlo Rustichelli provides a suitable plangent music score. Romy Garron's black and white cinematography is excellent, either within the mansion, along the sunny countryside or above the rocky shoreline. It's an early giallo but it's a good one.

Libido is the kind of film that proves I'm totally justified in obsessively tracking down every Italian horror film I can find in chronological order, because it's a Giallo that fools you into thinking you've got the plot all worked out, then turns it all on its head, then turns it all on its head again, then boots you in the balls with a sufficiently nasty ending.Christian is one of those unlucky kids who accidentally witnesses his father murdering some floozy in a mirrored room. Seems his dad took a header off a cliff shortly afterwards, leaving his creepy mansion in the hands of Paul until Christian turns 23 in three months time. Now the time is closing in, Christian, and his wife, and Paul, and his really, really ditzy wife all head off to the mansion to do the admin before the fortune falls into Christian's hands.Paul's wife Bridgette (played by gorgeous Mara Maryl) finds the mirrored room and wants to sleep there, so later on Christian gets an eyeful when she dances in her pants for Paul, while Christian's brain juice is getting all donked up with a mixture of desire, trauma from a flashback, and wondering how six hundred year old actor Pigozzi isn't cracking a fatty right there on screen.Also it seems that Christian's dad might not be dead at all as his pipe turns up and his favourite chair starts moving on its own (wouldn't be a mid-sixties Italian film without all that crap happening I guess!). So is Christian mad, or is someone trying to drive him mad, or has his father actually returned from the dead to tie up another floozy? This film starts off very intriguing (the credits are played out over various images of the murdered woman) and then fools you into thinking it's a mediocre Scooby Doo type thing before making you care about characters you were suspicious about from the start. I only spotted one single clue in the dialogue that may have pointed to the ending but that was that. So many twists in this one and the dark ending makes this one of the best Gialli from the sixties I've watched so far. They should have given Luciano Pigozzi bigger roles like the one he as here - He ditches the 'Igor' type act that he had in Terror Creature From the Grave and comes across as initially a bad guy to a guy perhaps discovering too late that he been made a mug of.One last note: Dario Argento must have had his notebook out for this one - children witnessing murders, creepy toys, kid's music - all of these turn up in Profondo Rosso!

Haunted by a terrible tragedy, a young man brought back to his family's old home by his wife and friends finds his long-held belief in a legacy of family-led mental disorders has come to bear when they succumb to strange happenings and must try to keep him sane in order to leave.This was quite the troubled if enjoyable Giallo effort. What really tends to hold this one down is the fact that a vast majority of the film is based around the idea of his past coming back to haunt him without anything actually happening. It plays like a stodgy Gothic chamber-drama more than an actual horrific effort, filled with long- winded scenes of him monologuing about the past and his fears of its recurrence in his personality followed by their increasingly incessant pleas for him to regain his sanity, leaving this one incredibly dry and long-winded for much of it's running time. Even being distracted by the elaborate Gothic setting or the inviting mystery at hand doesn't really offer up much as it becomes quite obvious early on that little is actually happening with such long stretches of time between action, and the repetition of these events merely reinforces this since that's what happens for a large part of the film. Due to the lack of more traditional Giallo-based elements, that really leaves this one with the seriousness of its set-up to sustain any attention in the first half and that causes this to feel way too drawn-out for way too long throughout this section of the film. Once it becomes more involved with the idea that the father has returned and it starts in on some rather more lively antics there's some likable work at play here as the preponderance of Gothic architecture and settings makes for a suitably chilling scenario to base the kind of psychological torment-style plot that this one hinges on as it does follow the kind of stylistic plot- points needed for that kind of payoff to occur. The walk-throughs of the castle-grounds thinking back on the events he experienced as a child that plays over the whole affair, the sight of the figure off in the distance of the castle grounds who disappears before they can offer any kind of identification of the figure leaving behind only the footprints on the carpet and the later discovery of the dead body in their midst play off quite effectively here. The film really hits its stride, though, in the final half-hour which is where it really starts to get interesting with the revelation of who's behind the whole affair and their intentions which sets up some rather fun action in the house as everyone tends to reveal their true intentions all leading up to the great shock at the finale that makes for a rather nice ending. Still, the overall blandness on display does hurt this one considerably.Today's Rating/PG: Mild Violence.

Even with all the renewed interest in Italian gialli these days, it's a little unfortunate that this one will probably never be re-released on DVD because it is one of the few gialli filmed in black and white. And that's too bad because it is really an excellent little film. A young boy sees his father murder his mistress during a bondage session in a mirror-filled room. The father apparently commits suicide by jumping off a cliff (although his body was never found)and the boy eventually ends up in a mental hospital. Years later as a young man he returns to his childhood home with his wife, his lawyer, and his lawyer's sexy girlfriend. A number of strange things begin to happen and the man begins to suspect that his father is still alive.For much of the movie it is tantalizingly unclear whether the man is still insane (a la "Repulsion"), the other characters are trying to drive him insane to get their hands on his father's inheritance (a la "Gaslight"), or the father really is still alive. The story is excellent and unusually logical for a giallo, and the end includes some delicious twists. Not surprisingly, the director Ernesto Gastaldi would go on to become one of the most famous screenwriters of these kind of films. Of course, he doesn't quite have the visual panache of more famous gialli directors (i.e. Bava, Argento, Fulci, Martino), but some scenes, particularly the ones in the room of mirrors, are pretty memorable.Gianni Giancarlo is the name actor, but he was pretty young here and seems to play his role a little too seriously. The best thing about this movie though is Maria Chiavetti (Gastaldi's wife)who plays the lawyer's girlfriend. Not only does she give the movie all its sex appeal by dancing in lingerie or strutting around in a kitty-cat bikini, but she provides a lot of Marilyn Monroe-style humor. And while her blonde airhead status would seem to mark her as an early victim, she plays a big part in the surprise twists near the end, proving more charismatic and versatile than the soon-to-be-famous, but here pretty one-note, Giancarlo. And she also apparently was the one that came up with the original idea for the story. This is impressive film, and the version I saw (in Italian with English subtitles) looked great.