Após sua alta de um hospital psiquiátrico, uma jovem busca vingança contra aqueles que a colocaram lá.Após sua alta de um hospital psiquiátrico, uma jovem busca vingança contra aqueles que a colocaram lá.Após sua alta de um hospital psiquiátrico, uma jovem busca vingança contra aqueles que a colocaram lá.
Adrienne Larussa
- Licia
- (as Adrienne La Russa)
Alba Maiolini
- Nun
- (não creditado)
Enredo
Você sabia?
- CuriosidadesAfter an introductory section the English version casts the titles over Mario and Licia, cavorting with a camera, to a sing-songy nursery rhyme "Daddy, What is true?", a whiny complaint about Licia's daddy issues, which is then heard, insistently, ad nauseum, as the musical theme throughout the score. The Italian version, "Salvare la faccia," cuts the introductory scenes and opens with Mario and Licia, nude under the credits, kissing and caressing in close up, over an entirely different theme, "Love Your Neighbor as Yourself," which repeatedly repeats the aforesaid aphorism, followed, repeatedly, by the line "Kill them, alright! Kill them, alright!"
- Erros de gravaçãoWhen Licia arrives looking for Giovanna, her hair is up under a beret. Cut to her 2 sec. POV survey of the empty room, cut back to her, with her hair all combed out, and beret nowhere to be found.
- Citações
Vocalist over opening credits: From my childhood I can't borrow. All I see is tears and sorrow. Yesterday, but no tomorrow. Daddy, what is true?
- Versões alternativasAfter an introductory section the English version casts the titles over Mario and Licia, cavorting with a camera, to a sing-songy nursery rhyme "Daddy, What is true?", a whiny complaint about Licia's daddy issues, which is then heard, insistently, ad nauseum, as the musical theme throughout the score. The Italian version, "Salvare la faccia," cuts the introductory scenes and opens with Mario and Licia, nude under the credits, kissing and caressing in close up, over an entirely different theme, "Love Your Neighbor as Yourself," which repeatedly repeats the aforesaid aphorism, followed, repeatedly, by the line "Kill them, alright! Kill them, alright!"
- Trilhas sonorasDaddy, What is True?
by Benedetto Ghiglia, lyrics by Jo Anna Kneeland
Avaliação em destaque
A beautiful, wealthy young heiress (Adriana La Russa) is tricked by her no-good, blackmailer lover (Nino Castelnuevo) into going to a brothel to make love. After she is caught up in a police raid her lover arranges, her family, to save face, decides to have her put in a mental institution. She gets out, and pretending to be crazy (like a very sexy female Hamlet), proceeds to get revenge on everybody including her lover, older sister, brother-in-law, and not least of all, her father (Rosanno Brazzi, who also directed).
This is basically a late 60's Italian gialli. It is not nearly as violent as the films that would later follow Dario Argento's "Bird with Crystal Plumage". It's perhaps more in the the spirit of the "Diabolique"/"Dolce Vita"-type gialli of the late 60's, typified by the films Umberto Lenzi made with Carroll Baker, where jaded wealthy jet-set types scheme against each other. This movie is not as stylized as the Lenzi/Baker films (the direction is actually a little flat), but it is has a good script and it is very well acted, especially by LaRussa. LaRussa had also appeared in Lucio Fulci's "Beatrice Cenci", another film about twisted family relations. She is great and very sexy here as she seduces her hapless brother-in-law, frames one character for the murder of another, and drives yet another to an early death. LaRussa kind of reminded of the late Soledad Miranda in films like "She Killed in Ecstasy". There's little doubt for her victims that beneath her seeming madness lies a scheming malevolence, but they simply can't resist her (much like a male praying mantis can't resist the female that is going to tear him apart and devour him). LaRussa may not quite be as sexy as Soledad Miranda (but who the hell he is?); however, she may very well be a better actress.
This is not one of the better directed gialli, but it has a strong plot and is very well acted, and it certainly deserves to be more widely seen.
This is basically a late 60's Italian gialli. It is not nearly as violent as the films that would later follow Dario Argento's "Bird with Crystal Plumage". It's perhaps more in the the spirit of the "Diabolique"/"Dolce Vita"-type gialli of the late 60's, typified by the films Umberto Lenzi made with Carroll Baker, where jaded wealthy jet-set types scheme against each other. This movie is not as stylized as the Lenzi/Baker films (the direction is actually a little flat), but it is has a good script and it is very well acted, especially by LaRussa. LaRussa had also appeared in Lucio Fulci's "Beatrice Cenci", another film about twisted family relations. She is great and very sexy here as she seduces her hapless brother-in-law, frames one character for the murder of another, and drives yet another to an early death. LaRussa kind of reminded of the late Soledad Miranda in films like "She Killed in Ecstasy". There's little doubt for her victims that beneath her seeming madness lies a scheming malevolence, but they simply can't resist her (much like a male praying mantis can't resist the female that is going to tear him apart and devour him). LaRussa may not quite be as sexy as Soledad Miranda (but who the hell he is?); however, she may very well be a better actress.
This is not one of the better directed gialli, but it has a strong plot and is very well acted, and it certainly deserves to be more widely seen.
- lazarillo
- 5 de set. de 2010
- Link permanente
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- Tempo de duração1 hora 28 minutos
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By what name was Salvare la faccia (1969) officially released in Canada in English?
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