Un lugar ideal para matar

Danish student Ingrid (Ornella Muti) and her English boyfriend Dick (Ray Lovelock) decide to sell pornography illegally in Italy, and at the beginning, they make a lot of money and spend a great holiday time there. Then they are arrested by the police, and their rebellious attitude (especially if you remember, this was 1970) doesn't help much. They end up on the street without a Lira in their pockets, and when a rich lady (Irene Papas) offers help, it seems a stroke of luck and they are not suspicious at all...

La bella Ornella in one of her earliest movies is very playful and looks best in a kind of Indian temple dancer costume here. All in all, "Un posto ideale per uccidere" is not a particularly dark or violent film, but with enough suspense. The rapid cut by Eugenio Alabiso - who also had his hands on genre classics like "Tutti i colori del buio" and "Lo strano vizio della Signora Wardh" - helps to speed it up a bit. Note: My Italian DVD is said to be transferred from the original negative with a running time of 83:49 min.

I found Oasis Of Fear to be a good movie. It is about a young hippie couple that are trying to sell illegal pornography whilst they are in Italy. There is not too much nudity in the film, They drive around in a yellow open top sports car. they manage to break into the garage of this womens villa, and try to steal petrol from her car. she agrees to let them stay in her villa for the evening she then gets tortured by the young couple and they get involved in a murder case. I noticed that during some parts of the film. some sences were done with Italian subtitles, where there was no dubbed English. i thought that it was a good made exploitation film.

It's ironic sometimes how a film doesn't turn out quite like its director intended, but the end result still outshines much of his other work; Lenzi reportedly wanted to make something akin to EASY RIDER (1969) but producer Carlo Ponti requested "the usual giallo" – besides, the drug-trafficking angle was changed to an even more lurid (and commercial) one involving pornographic material (hence, the alternate title DIRTY PICTURES)! Anyway, this is an atypical {sic} – thus interesting – effort from the genre's heyday: for once, too, the tone isn't overly glum (Bruno Lauzi's score, in fact, is infectiously upbeat most of the time) while being, as ever, a very stylish film.

The plot concerns two English kids (Ray Lovelock and under-aged Ornella Muti) traveling through Catholic Italy selling uncommon 'brochures' (Muti is perhaps too Mediterranean-looking to convince as an English girl, but she's sexy and generally delightful all the same). Being reckless, they never save what little money they make – when it's not stolen by those who 'befriend' them along the way (including a real-life motor-cycle dare-devil, dubbed "Crazy Tony", popular at the time!) – so the couple are forced to keep up the act…until they're betrayed to the Police by a potential customer who run them out of town. However, on the way, their car (stolen, of course) runs out of gas and the only nearby 'oasis' is a secluded villa they at first believe to be uninhabited; it transpires that rich American(!) Irene Papas (a curious presence in this type of film which, to my mind, definitely works in its favor) is inside and she catches them in the garage just as they're transferring petrol from one of the cars within into their own vehicle.

The woman's first reaction is to send the kids away, but she soon changes her mind and they're invited to feed and even stay the night. The couple's freewheeling antics seem to liberate the stiff lady of the house, too, and before the night is out, the trio are having themselves a party (cue some crazy zooms on the dancing participants – something I forgot to mention, by the way, in my review of Lenzi's A QUIET PLACE TO KILL [1970]) for which Muti also contrives to dress up in exotic fashion. Papas and Lovelock spend the night together but not before she's sent him to the garage to fetch her some cigarettes: looking in the glove compartment of her car, he finds a gun and instinctively picks it up. This, as it turns out, was a deliberate move on her part as the young man now has his fingerprints on the weapon – when the kids first arrived, Papas had been acting strangely and we soon discover why: her husband's body (whom she herself shot, being in cahoots with a lawyer who's intermittently seen trying to make contact with her) is stashed in the boot of the car! To add more conviction to her fabricated story – that the kids assaulted the household – Papas feigns an attempted rape…

Typically, the picture is filled with solid suspense touches and clever narrative twists: when the Police finally arrive, as Papas had predicted, it's her they believe; the kids, thinking otherwise (having drugged the woman and 'planted' the gun in her hands) take it easy as they're reaching the border, even deciding to go for an impromptu swim. However, as they're departing once again, the Police bars their way and, as was the case in the afore-mentioned Lenzi film (which I watched on the very same day as this one), it all ends with the kids running the car off the road and tumbling to their death – still, the director gives the whole a cynical conclusion this time around (accentuated by the reprise of the jaunty theme tune) as there's no redeeming last-minute stroke of irony here!

By the way, this too emerged to have the dual audio syndrome I encountered during my recent viewing of some of the "Euro-Cult" titles I've been going through. At first, I was disappointed that the Italian-language track was missing from this copy but, actually, it makes perfect sense here – since all three protagonists are foreigners anyway; then again, many of the Italian supporting characters do speak in their native tongue. Even so, some of the dubbing is unintelligible (particularly Umberto Raho's Police Inspector, who only appears towards the end) while, for about five straight minutes around the one-hour mark, the dialogue reverts completely to Italian for a scene which presumably was cut from the U.S. version of the film!

A young Scandinavian couple are rousted by the Italian police for selling nude photos of themselves. After, some strange misadventures with some gypsies (who rob them) they try to steal some petrol from the villa of a wealthy NATO colonel and are caught in the act by his wife. They charm their way into her house and seduce and victimize the older woman, but she has a surprising agenda of her own and soon the young couple find themselves embroiled in a murder and on the run from the law.

This is one of a string of superlative gialli directed by the enigmatic Umberto Lenzi starting with "Paranoia" in 1968 and ending with "Seven Bloodstained Orchids" in 1972. After that, Lenzi seemed to lose interest in the genre directing much lamer entries like "Spasmo" and "Eyeball" before moving into violent police thrillers and eventually stomach-turning third-world cannibal films. The plot of this movie somewhat resembles Lenzi's first giallo "Paranoia" with a young, free-spirited couple victimizing a wealthy, repressed older woman, but the older woman is much more than a victim here, the couple is much more sympathetic, and the story is told from a very different point of view. The ending is also similar to the ridiculous deus ex machina ending of the earlier film, but is much more believable (albeit much more cynical).

As the young couple, the movie features two of the most attractive actors of 70's European exploitation films in Ray Lovelock and Ornella Muti. But Lovelock, unfortunately, is dubbed and not speaking in his usual Scottish brogue and Muti was obviously too young to do the copious nude scenes that are, for once, necessary to the plot, so an obvious body double is used and every cinematic trick in the book employed (of course, this doesn't stop Lenzi from making like Jess Franco with the zoom lens every time the real actress bends over in her short-shorts). Both actors are pretty good though despite these liabilities. Special mention must go to Irene Papas though, who almost outdoes Caroll Baker herself in the Carroll Baker role.

I hate too admit it, but I kind of liked to pop music soundtrack too.

Posto ideale per uccidere, Un (1971) aka Oasis of fear aka Dirty pictures 7/10

A young free loving hippy couple Dick (Ray Lovelock) and Ingrid (Ornella Muti) buy a car load of porn in Copenhagen to help fund their holiday in Italy. Once in Italy they find plenty of takers for their product and soon find themselves very flush with cash which they spend like there's no tomorrow, soon they find they are broke again and Dick has the idea to take porno photos of themselves and flog them, but they approach the wrong person and are soon in the custody of the local police who confiscate the pics and give them 24 hours to leave the country. On their way home, their car runs out of petrol and so they knock into a nearby large house, where having received no reply decide to siphon off petrol from a car in the garage. They are confronted by Barbara, the apparently flustered lady of the house who threatens them with the police, but then on hearing their story changes her mind and invites them in for some food and to stay the night. It turns out she is the lonely wife of a NATO colonel and soon all three are involved in some flirtatious sex games, but who is taking advantage of who? Next morning we find out……

Another fine early Giallo from the diverse Lenzi, a rather bloodless and character driven film that doesn't really follow the Giallo tradition or for that matter let on where its going until the end, Lovelock and Muti are very good as the young sexually charged couple, who never hesitate to get naked, although Muti's nude scenes do seem to have been taken by a body double, Irene Papas as the very hospitable host takes most of the acting plaudits and portrays her characters vulnerability to perfection in a role that also requires her to show a sense of sexual frustration in a multi layered character and despite the fact not a lot happens in the first half of the film, there is a nice tension built up between the three leads. Lenzi also captures a fun frivolous swinging sixties full of flower power hippies, gypsies, sitars, swinging clubs which is defined by a very funky score with some horribly catchy songs by Bruno Lauzi. Although there is more than a slight overuse of the zoom lens throughout the film, Lenzi again proves to me he was a fine film maker. There's also a sting in the tale, in what is a rather muted and downbeat ending as Lenzi finally reveals his hand. Recommended