In the Eye of the Hurricane

Fabulously flamboyant Spanish filmmaker, José María Forqué dazzlingly conjurors up one of the more luridly louche offerings of the superbly slinky, perkily permissive 1970s, with his divinely duplicitous Giallo, 'In The Eye of the Hurricane' which eye-bogglingly remains an entrancing, diabolically devious, slaveringly salty, perkily psycho-delic, salaciously skin-drenched, tantalizingly twisted, irresistibly glamorous Giallo diorama for refined film hedonists of all ages!

The stylish, sensationally suspenseful, tremulously titillating, dreamy-delicious erotic thriller, 'In The Eye of the Hurricane' is also known as the far more mellifluous-sounding, 'La Volpe dalla coda di velluto' (1971) and is generously endowed with an abundantly sultry, appealingly sun-slathered sexiness, now all glamorously gussied up in fashionably freakadelic High Definition! This erotically charged, murderously overheated ménages à trois is a deadly-decadent descent into juicily jet-setting, 'Martini-minxes-gone-mad', aqua-netting Giallo doom! This exquisitely playful Costa-del-death' celluloid curiosity has an outrageously camp 'swans-in-the-bathtub' eccentricity that electrifies 'In The Eye of the Hurricane' with an arrestingly perverse quality, making the misbegotten machinations of these handsome protagonists all the more fascinating! Those estimable cult aficionados at 88 Films have once again lovingly restored another exotic, little-seen 70s Giallo gem to a remarkably pristine quality!

I recently watched the Spanish/Italian film 🇪🇸🇮🇹 The Fox with the Velvet Tail (1971) on Tubi. The story follows a woman who leaves her husband for a younger, more exciting man closer to her age. But when her brake lines are cut and it seems someone is trying to kill her, she begins to wonder if her husband isn't quite as finished with her as it appears. Is he behind it, or is something even more sinister going on?

Directed by José María Forqué (Game of Murder), the film stars Analía Gadé (Exorcism's Daughter), Jean Sorel (The Day of the Jackal), Rosanna Yanni (War Goddess), and Tony Kendall (Kill Me Gently).

This is a unique picture with plenty of smart, entertaining twists and turns. The multiple love triangles keep the plot unpredictable from beginning to end. The houses, scenery, and backdrops are stunning, and the colorful interiors and décor are equally impressive. As expected from the era, it features striking leading ladies and some of the era's trademark horror nudity. Just when you think you've figured things out, another twist emerges, leading to an unexpected conclusion. It's an engaging and stylish watch.

In conclusion, The Fox with the Velvet Tail is a clever, twist-filled film that keeps you guessing. I'd give it a 6.5/10.

After a lovely animated credits sequence, we are plunged into the unhappy married life of Ruth and Miguel. I thought at first that they were unhappy because their mansion on the coast with a private beach, butler and cook wasn't big and expensive enough, or maybe their open top sports car weren't up to date, but I was wrong. Ruth just doesn't love Miguel no more, and she tells him so, also saying "Oh, by the way, my new lover is moving in, he's played by Jean Sorel as well." So Jean moves in and we get a fairly long sequence of these two in love – rolling about the beach, water skiing, painting ceramic dishes, snogging while Jean hangs upside down from a tree. Jean even buys Ruth a pet swan which makes for some ridiculous visuals. It should be noted here that this film is lush looking even by the usual high standards of this genre – Jean takes Ruth to this nightclub and we get dazzled by the garish colour schemes, and an early shot of a disco ball! Around this point Jean's friend Roland also shows up and starts making eyes at Ruth, some lady (whom I initially thought was Miguel in drag, which means I've been watching too many of these films), moves in next door and keeps spying on everyone, and someone starts trying to kill Ruth! First her brakes don't work on her car, then someone drains all the fuel out of her SCUBA diving gear.

She's naturally inclined to think that Miguel is responsible for this, and it doesn't help when he turns up shortly after this, but when she accidentally overhears a couple of characters discussing the rest of the plot in great detail, your left wondering what direction the plot is going to take, seeing this happens only forty minutes into the film.

Did you get any onya? This film is very much in the style of those late sixties gialli starring Jean Sorel and/or Carroll Baker, but with a total overdose of visual style and weird camera angles. Plus, when have you ever seen Jean Sorel chase a swan around while wearing a daft mask. Please not however there is scarcely a drop of blood in this one but if you're a sleaze fan you might want to hang about to the last fifteen minutes.

Didn't need to see a guy harpoon an octopus though.

The polyvalent Spanish director José Maria Forqué tries to show in this Italian coproduction that he could also make for his part a giallo. He uses the codes of the style, notably taking inspiration from Lenzi's works, and convenes great giallo actors alongside famous Argentinian actresses. The film itself opens on credits including smart drawings combining Art Nouveau and pop style, upon a mixed theme of Leda and Swan Lake.

The swan girl in question is Ruth (Analia Gadé, Murder Mansion / Quando Marta urlo dalla tomba), a very wealthy woman who wants to divorce from her husband Michel (Tony Kendall, La Jena di Londra), because she is in love with the handsome playboy Paul (Jean Sorel, Paranoia). They thus leave together for a splendid area on the sea coast to live their perfect love. Here they meet Roland (Maurizio Bonuglia, Giornata nera per l'Ariete), a Paul's friend and former comrade-in-arms, who acts to serve their idyll, and Danielle (Rosanna Yanni, Cross Current / Un Omicidio perfetto a termine di legge), a strange girl who seems to watch them. In a spleen moment Ruth reminds herself that she has always been frightened "to have to grow old alone", but Paul comforts her saying: "you won't get old". And accidents are not long to start happening.

For giallo followers, the trick is rather simple, and logically the director chooses to reveal it for the middle of his film. But the main issue thus remaining is: how our swan girl will try to react to the plot? How will she handle the inquiry of the local commissioner (Julio Peña, Tre Notti Violente)? Will she manage to be sufficiently clever to get through the knots woven all around her? Or should a "third lion" be even smarter to snatch the bet? This giallo made in the classic way won't quite shake up the standards of the style. (Viewed in Italian 1h40 version.)

A woman leaves her husband and immediately takes up with another man . But her new beau has a strange friend that he knew from the "war", he and also seems to have some kind of relationship with the beautiful bisexual woman next door. Meanwhile her estranged husband is still lurking around, and someone seems to be trying to kill her.

This rather odd giallo came out after Dari Argento had set the template for the genre with "Bird with Crystal Plumage". Strangely though, it seems to be a throw-back to the earlier Umberto Lenzi/Carroll Baker gialli like "Paranoia" or "A Quiet Place to Kill". The beginning is almost unforgivably slow with romantic longueurs of very beautiful idle rich people frolicking on the beautiful Cote de Azure beach while 60's Europop tunes play on the soundtrack (the movie often resembles a more staid French thriller like "La Piscine" than a Spanish/Italian gialli) . The plot, when it finally kicks in, is actually pretty good, but this movie is not as deleriously stylized nor is it anywhere near as violent as your typical giallo of that era. And it's tame even compared to the earlier gialli as far as sex goes--there's a long, ridiculous scene where the lead actress goes topless but the view is always obstructed by something (which resembles a running gag in "Austin Powers" more than anything else). It's hard to believe that three years later this same Spanish director would do the uber-sleazy "Beyond Erotica".

Still, tame does not necessarily translate to bad. This film has some good twists to it and is pretty entertaining when it get's going.