AVALIAÇÃO DA IMDb
6,0/10
1,4 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAn unhappily married Parisian industrialist is pulled into a web of lust and deception after he seemingly rescues his new neighbor from her abusive boyfriend.An unhappily married Parisian industrialist is pulled into a web of lust and deception after he seemingly rescues his new neighbor from her abusive boyfriend.An unhappily married Parisian industrialist is pulled into a web of lust and deception after he seemingly rescues his new neighbor from her abusive boyfriend.
Jean-Louis Trintignant
- Jean Reynaud
- (as Jean Louis Trintignant)
Giovanni Di Benedetto
- Monsieur Valmont
- (as Gianni Di Benedetto)
Marcello Bonini Olas
- Party Guest
- (não creditado)
Anna Scalzi
- Jean's Secretary
- (não creditado)
Alessandro Tedeschi
- Uomo Della Commissione
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesSecond part of a trilogy also including O Louco Desejo (1969) and Os Ambiciosos Insaciáveis (1970).
- Erros de gravaçãoAerial shots of Jean skiing behind a boat show the stunt double jumping the wake, and skiing, one-handed, far to the side on the open water, switch back and forth between close-ups of Jean-Claude Trintingant, but in the close-ups he is always in the wake, both hands on grips, directly behind the boat.
- Citações
Black Stripper: Taking your clothes off isn't any problem, you know, when there's enough loot.
Monsieur Valmont: They say she can be great when she's tight.
- ConexõesFeatured in Yellow Fever: The Rise and Fall of the Giallo (2016)
Avaliação em destaque
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.
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.
- Bezenby
- 14 de jul. de 2017
- Link permanente
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- How long is So Sweet... So Perverse?Fornecido pela Alexa
Detalhes
- Data de lançamento
- Países de origem
- Idioma
- Também conhecido como
- So Sweet... So Perverse
- Locações de filme
- Punta Ala, Castiglione della Pescaia, Grosseto, Tuscany, Itália(scene by the sea)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
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What is the Spanish language plot outline for Tão Doce Quanto Perversa (1969)?
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