The 10th Victim

The more serious you get about this movie, the more you are missing the point. It's an Italian Sex Farce, really, but it's also a fine pop art film, and a fine science-fiction romp that would be a great double feature with Blade Runner. The review "A wonderful example of 60s pop art film-making,Italian-style", by jisenhath from New York, New York USA, really nails the essence of this social-satire sci-fi.

Like the crocodile tears the sun worshippers cry for the setting sun (satire on religion, of course, though it's also close to the excesses of the 60's hippy-dippies doing nature "for real" in 65), the movie is best taken in the vapid, mondo gellato style it revels in.

From the novel by Robert Sheckley (still a great read, too), the "shocking" hunt takes a swipe at the media circus and boredom of excess, while visually reveling in it. The fashion, style and beauty of both Elsa Martinelli and Ursula Andress are a joy, while Marcello works his casual nonchalance and easy timing as the Italian sophisticate at ease with multiple meanings. That's come to pass, hasn't it, as we read from this computer on a network spanning the world. Is this a cult we are a part of? If so, don't cry, but laugh. Like this film does.

Cheesy one review says... no, cheesy is when the film attempts something and does not succeed through taste, budget or in-ineptitude. Opera is not cheesy, but it is ornate, over-the- top and hyper. So is this film. It's space opera in the operatic sense of La Scala.

It's spun gold, and a fine bookend to Marcello's 60's sex romps like Cassanova 70. (done in '65 too, a good year for vintage Marcello). Asti Spumante, anyone?