Rivelazioni di un maniaco sessuale al capo della squadra mobile (So Sweet, So Dead) (Roberto Bianchi Montero, 1972)
IMDb
Crime | Drama | Horror
Writing credits: Luigi Angelo & Italo Fasan (screenplay, story); Roberto Bianchi Montero (screenplay, as Roberto Montero)
Cast:
Farley Granger ... Inspector Capuana
Sylva Koscina ... Barbara Capuana
Silvano Tranquilli ... Paolo Santangeli
Annabella Incontrera ... Franca Santangeli
Chris Avram ... Professor Casali
Femi Benussi ... Serena
Krista Nell ... Renata
Angela Covello ... Bettina Santangeli
Fabrizio Moresco ... Piero
Andrea Scotti
Irene Pollmer ... Giannina
Luciano Rossi ... Gastone
Ivano Staccioli ... The Liar
Nino Foti
Jessica Dublin ... Rossella - the fortune-teller
[quote]Inspector Capuana investigates serial murders where the victims of unfaithful wives were get killed as they were having sex with their husbands. A naked woman is found murdered and mutilated in a prosperous small province town in Southern Italy. But who is murdering her? After a while, the killer who wears black fedora, gloves, and trench coat starts photographing unfaithful wives as they start having sex with their lovers and also killing them.
Written by c9rm9n [/quote][quote]In a seaside provincial town a killer is on the prowl. His victims are adultureous wives of rich and powerful men. He stabs them to death and leaves compromising photographs at the crime scene. Inspector Capuana (Farley Granger) is leading the investigation, but his hands are tied. His superiors won't allow him to go after town's well-to-do, who are obviously targeted by the killer for their extra-marital relationships and immoral behaviour.[/quote][quote]An occasional visual flair aside So Sweet, So Dead (1972) is presented rather matter-of-factly by Roberto (Bianchi) Montero and his cinematographer Fausto Rossi. Giorgio Gaslini provides a sublime score, which stands out as one of the finest of the genre. Albeit his themes are slightly overused throughout the film. So Sweet, So Dead, which has the longest original title ever: Rivelazioni di un maniaco sessuale al capo della squadra mobile, is a textbook giallo with a voyeuristic theme and psychological edge. Although the investigation to reveal killer's identity is merely a pretext. The film is more concerned in exploring its themes than focusing on dreary police procedural. This sets So Sweet, So Dead apart from your average giallo. Familiar themes, such as voyeurism, moral ambiguity and class differences, have been never woven into the fabric of a giallo film quite as exquisitely before.
With its respectable bodycount and unflinching camerawork to explore the wonders of naked female body in every given chance the film can come off as misogynic. The killer is focusing on unfaithful women leaving the equally sinful men alone, but this aspect can be considered as, perhaps misguided, social commentary. This is how the society happened to be structured in that point of time. But it would be naïve to dwell deeper into this notion. After all, everyone knows that killing naked women is one of the key giallo staples to sell tickets - and now DVDs.
The black-clad killer has never been featured as prominently as he is here. In many murder scenes he is on screen for several minutes wearing the giallo “uniform” of fedora hat, stocking over face, black overcoat and black gloves. The increased screen time diminishes the dramatic effect the killer has. When point-of-view shots are missing, the murder scenes are more about the actual violence than suspense. The first murder scene, where the killer chases Femi Benussi across an empty beach, is an early highlight of the film. Giorgio Gaslini's lyrical theme accompanied with select slow motion shots work as a reminder why giallo films were such an important influence to slasher films.
The film boasts with an ensemble cast ridden with familiar giallo names. Old Hitchcock favourite Farley Granger is the leading the pack. His depiction of the classic gumshoe role, reminiscent of film noir detectives of the 40's and 50's, is pure class, even dubbed in Italian. He is the glue that holds the story together and paves the way for other cast members to strut their stuff. Sylva Koscina, who was criminally underused in giallo genre doing mostly comedies in early 70's, is cast as Granger's wife. Considering importance of the role her screen time is very limited. Silvano Tranquilli plays a seedy lawyer, who's having an affair with his neighbour's wife (Susan Scott). Other giallo girls include Krista Nell and the aforementioned, lovely Femi Benussi. Chris Avram plays a coroner, who has wild theories about the killer's motives ranging from homosexuality to impotence, but it's his assistant, portrayed by cult favourite Luciano Rossi, who steals the show as one of the red herrings. A subplot involving his rather unorthodox interest, bordering on necrophilia, in the corpses he prepares for burial. He literally laughs out loud as a seal of approval, when he is satisfied with the treatment he gives to the first victim hiding all the traces of violence from her body. Talk about morbid comic relief.
Veteran director Roberto Montero has created an expertly crafted giallo in So Sweet, So Dead (awful English title, by the way). Boosted by Giorgio Gaslini's excellent score and solid cast the film should make any giallo fan's mouth water. After all, the giallo genre has never been about originality and certainly So Sweet, So Dead owes a lot of its predecessors.[/quote]
Daeron en KG:
R.d.u.M.S.a.C.d.S.M.1972.DVDRip.XviD.KG.avi 
(DVDRip "emulizado"; dos audios disponibles: italiano e inglés)
Subtítulos en inglés
IMDb
Crime | Drama | Horror
Writing credits: Luigi Angelo & Italo Fasan (screenplay, story); Roberto Bianchi Montero (screenplay, as Roberto Montero)
Cast:
Farley Granger ... Inspector Capuana
Sylva Koscina ... Barbara Capuana
Silvano Tranquilli ... Paolo Santangeli
Annabella Incontrera ... Franca Santangeli
Chris Avram ... Professor Casali
Femi Benussi ... Serena
Krista Nell ... Renata
Angela Covello ... Bettina Santangeli
Fabrizio Moresco ... Piero
Andrea Scotti
Irene Pollmer ... Giannina
Luciano Rossi ... Gastone
Ivano Staccioli ... The Liar
Nino Foti
Jessica Dublin ... Rossella - the fortune-teller
[quote]Inspector Capuana investigates serial murders where the victims of unfaithful wives were get killed as they were having sex with their husbands. A naked woman is found murdered and mutilated in a prosperous small province town in Southern Italy. But who is murdering her? After a while, the killer who wears black fedora, gloves, and trench coat starts photographing unfaithful wives as they start having sex with their lovers and also killing them.
Written by c9rm9n [/quote][quote]In a seaside provincial town a killer is on the prowl. His victims are adultureous wives of rich and powerful men. He stabs them to death and leaves compromising photographs at the crime scene. Inspector Capuana (Farley Granger) is leading the investigation, but his hands are tied. His superiors won't allow him to go after town's well-to-do, who are obviously targeted by the killer for their extra-marital relationships and immoral behaviour.[/quote][quote]An occasional visual flair aside So Sweet, So Dead (1972) is presented rather matter-of-factly by Roberto (Bianchi) Montero and his cinematographer Fausto Rossi. Giorgio Gaslini provides a sublime score, which stands out as one of the finest of the genre. Albeit his themes are slightly overused throughout the film. So Sweet, So Dead, which has the longest original title ever: Rivelazioni di un maniaco sessuale al capo della squadra mobile, is a textbook giallo with a voyeuristic theme and psychological edge. Although the investigation to reveal killer's identity is merely a pretext. The film is more concerned in exploring its themes than focusing on dreary police procedural. This sets So Sweet, So Dead apart from your average giallo. Familiar themes, such as voyeurism, moral ambiguity and class differences, have been never woven into the fabric of a giallo film quite as exquisitely before.
With its respectable bodycount and unflinching camerawork to explore the wonders of naked female body in every given chance the film can come off as misogynic. The killer is focusing on unfaithful women leaving the equally sinful men alone, but this aspect can be considered as, perhaps misguided, social commentary. This is how the society happened to be structured in that point of time. But it would be naïve to dwell deeper into this notion. After all, everyone knows that killing naked women is one of the key giallo staples to sell tickets - and now DVDs.
The black-clad killer has never been featured as prominently as he is here. In many murder scenes he is on screen for several minutes wearing the giallo “uniform” of fedora hat, stocking over face, black overcoat and black gloves. The increased screen time diminishes the dramatic effect the killer has. When point-of-view shots are missing, the murder scenes are more about the actual violence than suspense. The first murder scene, where the killer chases Femi Benussi across an empty beach, is an early highlight of the film. Giorgio Gaslini's lyrical theme accompanied with select slow motion shots work as a reminder why giallo films were such an important influence to slasher films.
The film boasts with an ensemble cast ridden with familiar giallo names. Old Hitchcock favourite Farley Granger is the leading the pack. His depiction of the classic gumshoe role, reminiscent of film noir detectives of the 40's and 50's, is pure class, even dubbed in Italian. He is the glue that holds the story together and paves the way for other cast members to strut their stuff. Sylva Koscina, who was criminally underused in giallo genre doing mostly comedies in early 70's, is cast as Granger's wife. Considering importance of the role her screen time is very limited. Silvano Tranquilli plays a seedy lawyer, who's having an affair with his neighbour's wife (Susan Scott). Other giallo girls include Krista Nell and the aforementioned, lovely Femi Benussi. Chris Avram plays a coroner, who has wild theories about the killer's motives ranging from homosexuality to impotence, but it's his assistant, portrayed by cult favourite Luciano Rossi, who steals the show as one of the red herrings. A subplot involving his rather unorthodox interest, bordering on necrophilia, in the corpses he prepares for burial. He literally laughs out loud as a seal of approval, when he is satisfied with the treatment he gives to the first victim hiding all the traces of violence from her body. Talk about morbid comic relief.
Veteran director Roberto Montero has created an expertly crafted giallo in So Sweet, So Dead (awful English title, by the way). Boosted by Giorgio Gaslini's excellent score and solid cast the film should make any giallo fan's mouth water. After all, the giallo genre has never been about originality and certainly So Sweet, So Dead owes a lot of its predecessors.[/quote]
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Runtime ............................................: 1:36:45
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