The Designated Victim (1971)

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

The film may be flawed, but its message is not.

Reading down the list of titles that DVD company Shameless have brought out,the first title which really got my attention was a complete re-edit of lost footage for a Viana set,near forgotten Giallo.Finding out that this movie is meant to be a Giallo-riff on Patricia Highsmith's novel/Alfred Hitchcock's film Strangers On A Train,I decided to get the very first ticket for this exciting sounding Strangers On A Gondola!The plot:Feeling that he is stuck in an unworkable marriage,Stafano Argenti attempts to convince his wife Lusia that this is the perfect time for them to sell off the shares to their business which they both co- own.Unlucky for Stafano,Luisa stone walls his idea and refuses to get involved in the conversation.Angry at his wife messing him around,Stafano secretly forges his wife's signature so that he can start the separating of their lives without her having any knowledge about it.Feeling that he needs some time to relax,Stafano decides to spend some time with his mistress :Fabienne Beranger.Hanging around the casinos and Celtic market stalls in Venice,Stafano finds himself weirdly constantly running into the same man.Eventually striking up a convocation with the strange man,Stafano finds out that the man is an aristocrat called Count Matteo Tiepolo,who is being constantly tormented by his brother.Finding a strange bond in Tiepolo's suffering at the hands of his brother,and Stafano's own troubles of being stuck in a loveless marriage,Stafano starts to spend a lot of time around Tiepolo and begins to become a firm friend of his.Deciding that he has developed a strong enough friendship with him, Tiepolo tells Stafano that he has come up with a plan which will cure his marriage troubles,and also put an end to the torment from Tiepolo' brother.Confident enough that Stafano will approve, Tiepolo tells him that his plan is for him to murder Stafano's wife,and for Stafano to murder his brother.View on the film:Presenting this fantastic movie fully uncut for the first ever time,the team at Shameless have gone into painstaking detail to get every previously cut moment from the film,which despite being a noticeable drop in quality to the rest of the movie due to how neglected the reels of film have been,the extra footage does really help to add a bit more flesh to the relationship between Stafano and Tiepolo.Since having last seen Tomas Milian play a ruthless slime ball in Umberto Lenzi's brilliant 1974 Italian Crime film Almost Human,I was astonished by the restrain and delicately which Milian displays for his masterful performance as Stafano.Although Stafano is shown to be pretty keen on getting away from his wife,Milian gives the character a strong conflicted conscious,which takes him away from being someone who makes snap decisions,to instead being a character whose completely uncomfortable about either going forward or back with his relationships.Fully embodying Patricia Highsmith characters such as Tom Ripley,Pierre Clementi gives a perfect shaman-like performance as Tiepolo,who Clementi shows goes from being a sweet and innocent looking guy,to someone hiding a horde a demons underneath his eyes.For the screenplay of the film, (written by…deep breath!:Maurizo Lucidi,Augusto Caminito,Leslie Daniels,Fulvio Gicca Pali,Antonio Troiso and Aldo Lado-who along with also being an assistant director here,would later do his own Venice based Giallo:Who Saw Her Die?)the writers smartly make sure that the progression in Stafano and Tiepolo's relationship never feels like an abrupt change,but instead a natural progression for the characters,as Stafano is shown to be feeling a mix of interest and extreme uncomfortableness over his friends plan,whilst Tiepolo is shown fearing that Stafano might no longer want to be his friend,due to him having "crossed a line"Soaking up the beautiful,dream-like misty Venice atmosphere,co- writer/director Maurizio Lucidi uses a number of elegantly done,side- ways shot tracking shoots to show the gradually strange direction that the two mens friendship is heading towards.Smartly building up the tension and atmosphere of this transfixing Giallo piece by piece,Lucido puts the clues for the ending of the movie quietly at the beginning, so that they can slowly start to unravel as Stafano begins to decide on if he should accept Tiepolo's offer.

This Italian re-working of Alfred Hitchcock's Strangers on a Train has Tomas Milian star as an immoral advertising executive who is frustrated with his wife's refusal to sell their business. Angry that he won't be cashing in any time soon, he goes on a trip to Venice where he has a chance meeting with a foppish aristocrat who looks like a cross between Russell Brand and Laurence Llewellyn-Bowen. The two of them make a pact where Brand-Llewellyn-Bowen will kill Milian's wife in return for the latter murdering the former's brother.In its early stages The Designated Victim looks quite promising. The scenes in off-season Venice where Milian meets the Count and his mysterious lady friend are quite unusual and atmospheric. Unfortunately, the odd lady friend vanishes from the scene leaving Milian and the fop to lead the picture. You will sort of know roughly where the story is going if you are even vaguely familiar with the Hitchcock original. But it's not predictability that's the problem here; it's more the fact that there is a serious lack of suspense and thrills. The film drags for the most part and the dynamic between the two central characters isn't as interesting as it should be. I couldn't really wholeheartedly recommend this one. When you consider the other Italian thrillers on offer in the 70's, this one pales quite a bit by comparison.

The influence for this film is clear; it's basically an Italian twist on the Hitchcock classic Strangers on a Train. Being a big fan of that film, I was of course intrigued to see how this was going to turn out. I wont say I was too disappointed overall, but it's nowhere near as good as the original and certainly could have been a lot better. The main problem with it is that director Maurizio Lucidi has aimed too high; it's clear he wanted this to be a high quality thriller rather than a slice of Italian exploitation - and personally I'd rather it have been the latter. The basics of the plot will be familiar to most fans of thrillers, and in this film we focus on Stefano Argenti, an advertising executive who is at odds with his wife over the sale of a joint business. He wants rid of it so he can live a life of luxury with his mistress; but his wife wont agree the sale. Stefano meets Count Mateo Tiepolo, who it transpires, is at odds with his violent brother. Mateo suggests a plan in which each man murder the other's vice; though Stefano is reluctant. But then Mateo kills Stefano's wife, and demands that the favour is returned.The lead roles are taken by Tomas Milian and Pierre Clémenti, and both perform well and share an intriguing (almost homo-erotic) bond on screen together. The plot itself is rather slowly paced and it has to be said there's not a great deal of excitement; I was never on the edge of my seat waiting to see what's going to happen, and that's unfortunate since the film is supposed to be a thriller. It's all very well orchestrated, however, and the film has themes that go deeper than merely what we're seeing on screen. Director Maurizio Lucidi obviously wanted to keep the film clean, and therefore we don't see any murders actually happen, which is a bit of a disappointment. The locations are all very beautiful and well shot, and this brilliantly offsets the dark themes of the film. The soundtrack is rather interesting also and not merely the norm for Giallo. The film deviates from Hitchcock's original with the ending, which features a clever twist; though I have to say I prefer how the original turned out. Overall, I would definitely say that this film is worth a look; however, I'd have preferred some more of the classic Giallo style.

User ratings sometimes (I'd dare to say 'often') don't reflect the real quality of a movie... This is the case, in my opinion. "La vittima designata" is a remake of Hitchcock's "Strangers on a train" (that has a user rating of 8.3) and, call me blasphemous if you want, it is almost better. Here we have a rich, baroque photography, great atmosphere, and wonderful acting performances: Milian and Clementi interact perfectly adding to the whole story a soft sense of ambiguity that enriches it and could have lead to paths unknown to Hitchcock's movie. Venice and the palace of the nobleman Matteo Tiepolo stand perfectly as a metaphor of moral decadence and if you have seen 'La morte a Venezia' by Luchino Visconti (filmed that same year, 1971) you know what I'm talking about. Great soundtrack, too: the Gothic lullaby "My Shadow In The Dark" with its fatalistic refrain "to die, to sleep, maybe to dream" is sung by Milian himself. I don't think this is an easy title to find these days, but if you can, start the quest. To me this is one of the best Italian movies of the seventies. 8/10