Delirium

This is nasty stuff. Surprisingly strong for a 1972 movie, Polselli's over-complex and contrived giallo happily depicts what other people would only dare hint to in a number of jaw-droppingly misogynistic scenes of sexual violence. In one remarkably unpleasant scene, a black gloved killer masturbates a female victim as he strangles her. I find it surprising that movies like NEW YORK RIPPER are so infamous when extreme stuff like this and GIALLO A VENEZIA exist. It's quite amazing that these films were made at all, let alone had a cinema release!

Focusing away from the violence, this is actually a pretty well made and tight giallo. Whilst a lot more sleazy than some of the classy entries into the genre, Polselli hits the viewer with some relatively innovative scenes and camera-work. The plot is hilariously winding- I won't give too much away, but fans of the more ridiculous giallos will not be disappointed. There is also a definite undercurrent of black humour, particularly in some of the scenes of violence. I think it is safe to say that the misogynistic humour will be left misunderstood by most.

Unfortunately, DELIRIUM fell victim to distributor re-cutting in a big way. The American version is hugely different to the original Italian release, losing a lot of violence, gaining some new footage, and asa result suffering quite marked changes to the plot itself! The different versions are really quite different, and I'd advise any giallo collector to check out both. By all accounts, the French print of the movie is the most complete "uncut" form. Definitely worth a look for fans of giallos and of good, honest cinematic scum.

In Renato Polselli's bonkers giallo Delrium, Mickey Hargitay plays Dr. Herbert Lyutak, an impotent deranged lunatic who cannot stop himself from murdering pretty young women. When his devoted wife, still a virgin due to her husband's 'problem', discovers his secret, she decides to help rather than inform the police.

Delirium certainly showed promise at the beginning, with a vicious murder scene that delivered both the requisite nudity and violence one expects from a 70s giallo. Unfortunately, what begins as a sleazy little thriller quickly descends into a mess of histrionics and incomprehensible craziness that ultimately leads to disappointment.

Polselli packs his film with tasty young totty, with nearly every woman either wearing a mini skirt or a pair of hot pants, and all willing to get their kit off at the drop of a hat, but even these pleasing visual distractions couldn't make me overlook the dreadful acting, poor plot and just plain silly ending. The usual red-herrings abound, and there's even more than one killer just to make things more confusing, but as giallos go this one is definitely second rate.

4.5 out of 10 (very generously rounded up to 5 for IMDb).

I thought that the impious happenings in the Reincarnation of Isabelle couldn't be surpassed. Well I proved myself wrong after I witnessed this little picture. Although i enjoyed the film, I felt a little disappointed at times. I thought that the character of Rita Calderoni was a little over the top and i just expected more with the sexual content. The dialogue became a little risible at times and the plot to predictable. I didn't care for the ending either but overall it worked. Don't forget to check out the domestic release that is featured on the anchor bay dvd and witness for yourself how the Americans can destroy a film.

Renato Polselli's 1972 film "Delirio caldo" is a polarizing entry into the giallo genre, offering an experience that is equal parts perplexing and fascinating. The film's chaotic narrative and stylized presentation make it a noteworthy piece for fans of Italian horror, though it might not appeal to a broader audience.

Set against the backdrop of a psychosexual murder mystery, the film dives headfirst into the twisted mind of Dr. Herbert Lyutak, played by the intense and memorable Mickey Hargitay. Hargitay's performance is a standout, delivering a portrayal that oscillates between chilling and absurd. His portrayal of a disturbed psychologist who grapples with violent urges adds a layer of psychological depth to the film's otherwise disjointed storyline.

The film's plot, however, is a labyrinthine mix of subplots and red herrings, making it difficult to follow at times. Polselli's direction leans heavily into surrealism, creating an atmosphere thick with tension and unease. The non-linear narrative structure, coupled with abrupt shifts in tone and pace, can be disorienting, yet it also contributes to the film's unique charm. This erratic style is both a strength and a weakness, showcasing Polselli's ambition while simultaneously alienating viewers who prefer coherent storytelling.

One particularly stand-out scene involves a dreamlike sequence where Dr. Lyutak's psyche unravels in a visually striking montage. The use of vivid colors, rapid cuts, and unsettling imagery captures the essence of his internal chaos, leaving a lasting impression. This scene exemplifies Polselli's knack for visual storytelling, even if the narrative itself falters.

The supporting cast, including Rita Calderoni as Lyutak's wife, Marzia Damon, delivers commendable performances, adding layers to the film's exploration of trust, betrayal, and madness. Calderoni's portrayal is nuanced, bringing a touch of vulnerability and strength to her character, which contrasts sharply with Hargitay's more bombastic presence.

"Delirio caldo" is also notable for its bold and often controversial approach to themes of sexuality and violence. The explicit content, while shocking, serves to underscore the film's exploration of human depravity and psychological torment. However, the excessive nature of these elements can feel gratuitous, detracting from the film's more profound moments.

Visually, the film is a feast for fans of 70s Italian cinema. The cinematography, with its use of stark contrasts and shadowy compositions, creates a sense of foreboding that permeates the entire film. The score, composed by Gianfranco Reverberi, complements the visual style with its haunting melodies, further immersing the audience in the film's unsettling world.

Despite its flaws, "Delirio caldo" remains a compelling watch for aficionados of the genre. Its audacious approach and the memorable performance by Mickey Hargitay elevate it above many of its contemporaries, even if it doesn't quite achieve the coherence or impact it aims for. The film's fragmented narrative and provocative content ensure that it will remain a topic of discussion among fans and critics alike.

It is a film that strives for greatness through its ambition and style but falls short due to its convoluted plot and occasional overindulgence in shock value. Nevertheless, it stands as a curious artifact of its time, reflecting the experimental spirit of 70s Italian horror.

Sensationally sleazy giallo with loads of fab 70's gear worn by the men as well as the women and stacks of lurid action. When it's not sex or death on the screen, then it's shades of S&M in the cellar with chains, whips and other implements. Great looking, well OTT, eyes wide open shocker. Vivid killing in waterfall at the start sets the tone and we never look back, even the dead must have their clothing arranged in the sexiest possible way. Delirious ending but then this movie is true to it's title all the way. Perhaps the directing is not as stylish as some giallo and the music is rather muted. Some of the performances, especially towards the end are a bit uncontrolled but this is undeniably a very wild ride from start to finish.