Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Flyerplesys Perfectly adorable

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Bezenby It seems that prior to Dario Argento's The Bird With The Crystal Plumage that normal template for gialli was the 'mystery amongst devious people' rather than the 'loads of babes being sliced up'. This is yet another one of those films, with a rather low body count (two!).Jean (he's a fanny rat, but hard to like, because he's French), is a rich playboy who is not getting any of his wife (Erika Blanc - she looks like David Bowie), so looks for other avenues to explore. When the film opens, he's banging his mate's wife, but soon he discovers a new blonde has moved into the apartment above his.There's something strange going with this new blonde too, because Jean is hearing the scraping of furniture and what sounds like someone being slapped around, but when he goes to the front door of his new neighbour, no one answers. When he does finally get to meet her she claims that her boyfriend Klaus loves beating her up and stuff.Soon the two fall in love (queue montage!) much to the dismay of Blanc and the delight of Klaus, and it's roughly about the halfway mark that the twists start happening so I'll stop there. Needless to say that one character goes from being vulnerable to evil, allegiances changes again and again and the hippy vibe of the late sixties shines through loud and clear.However, Lenzi seems to have had a vision of the state of Italian film ten years later and injected the film with scenes that make no sense whatsoever, for instance the credits sequence. Jean drives about with a rifle in his car and we get flashes of one of his lovers but this has nothing to do with the rest of the film. Plus, Carrol Baker has a velvet lined cabinet in her apartment full of instruments of torture. This has nothing to do with anything either.On the other side, Lenzi also injects an amazingly high amount of style into the film too, what with an early example of the use of primary colours (soon to be a trend in the gialli) - there's one scene that's stands out when Jean is forced to snog Carrol Baker while someone keeps changing the lighting to various colours, Nicely done.

radiobirdma If you don't get Klaus Kinski, why not simply name the bad guy ... Klaus! After such a cunning production move – Klaus being played by German 60s scoundrel regular Horst Frank, flown in directly from the set of one of Jürgen Roland's stuffy St. Pauli whores-&-pimps flicks –, there's few directions to go but down, and neither pallid Frenchman J-L Trintignant nor "Baby Doll" Carroll Baker can provide the slightest bit of uplift. And in fact, it's not Klaus who's coming between them, but a) Riz Ortolani's annoying soundtrack, especially the ear-cancer inducing theme canzone, and b) the convoluted mess of the script by hackmeister Ernesto Gastaldi, a pseudo-clever double-crossing murder scheme stolen shamelessly from Les Diaboliques (for his version of Strangers on a Train, see the stunning densefest Lo strano vizio della Signora Wardh). As for Horst Frank, he's almost as smug as Tarantino favorite Christoph Waltz. Almost, and if legend is true, he also suggested a much more fitting title for this Euro stinker: Klaustrophobia.

moonspinner55 Carroll Baker's second of four films with Italian director Umberto Lenzi (whose standard predilection for amusingly arty camera angles, lesbian flirtations and bare-breasted women did little to enhance his reputation as a filmmaker) is agonizingly slow and woefully overlong. A French businessman, unfaithful to the haughty wife he no longer loves, becomes infatuated with the American woman living in the apartment above his, the apparent victim of spousal abuse. The men in Lenzi's giallo productions are never required to strip below the waist, leaving his actresses looking vulnerable and used. Baker manages to stay covered most of the time, but the role doesn't require anything additional from her. Poorly-dubbed, blurry-romantic escapades among the decadent and doomed. * from ****

christopher-underwood Great title and if not particularly appropriate for the film, no matter, for this is a fine film. Carroll Baker, excellent as ever, although she does keep herself fairly well covered here and not always in the most stunning of outfits, Jean-Louis Trintignant does pretty much what he always does, well and Erika Blanc puts in a very strong performance. Solid directing by Lenzi, might have been stylish but pan and scan print ensures it does not appear so, and for the first half we have a rather fun, colourful and bright story of an extramarital affair. Things change, however, just as we begin to wonder if all is as it seems things change very much indeed. Hardly any blood or bare skin for that matter but a most involving tale, exceedingly well told, that certainly starts to flip about towards the end. Indeed until the very end!