Olivia

I like Ulli Lommel's film The Bogey Man so much that I have 3 different copies of it; I even have 2 of it's poor sequel. I also collect many of the 88 Films releases, so when this came out I just had to buy it. The British blu ray comes with an enticing cover (film is entitled Prozzie) and is part of 88's Slasher Classics Collection. This, however, is NOT a slasher movie, much more a psychological thriller with a bit of sex and horror thrown in. I prefer the first half of the film, which is set in London. It's pretty dark and has a few Lommel touches reminiscent of The Bogey Man. But when the action moves to Arizona the plot becomes pretty silly & unbelievable. This film grew on me after a second viewing, so I'm glad I hung on to my Blu Ray copy as I had contemplated selling it.

Variously known as, Olivia, A Taste of Sin, Prozzie and Double Jeopardy, this has as many twists and turns as it does titles. Eccentric ex art house director Ulli Lommel, writes, directs and even looks after camerawork here in a very strange film. Seemingly considered by the makers as 'Hitchcockian' there is only one decent scene of suspense and lots more that appear to have crept in from many and varied a genre. As so often with low budget fare the bonus is that you never quite know where things might go, but who expects the evil child, slasher, sexploitation movie to tell the story of the moving of London Bridge to Arizona?! Likeable, varied, ludicrous but involving with Suzanna Love helping enormously in a most convincing central role. Crazy, but cool.

If you go into this movie believing it to be a horror - as I did - you will be disappointed. It might pass as a thriller, but this is mostly drama, and character study.

15 Years ago, Olivia's mother - a hooker - was killed by one of her customers. Now 20 and married to Richard, Olivia is still haunted by her mother's death. Richard is a bit of a brute, and when he refuses Olivia getting a job, she decides to follow in her mother's footsteps - not to make money, but to avenge her mothers death by killing men who picks her up.

One night she is spotted by Michael Grant, an engineer, while taking pictures of a bridge he is working on. Getting acquainted, Olivia enjoys his sensitivity and they start seeing each other while Richard is at work. Olivia is totally nuts, and I found her annoying at times. The film just gets worse towards the end and without spoilers I guarantee you're not going to like how this plays out.

I found the film slow and uninteresting, so chances are I'm going to forget this in an instant. Not that it would matter...

My review was written in March 1983 after a screening in the Bronx.

Filmed half in London and half in Arizona in 1981 with the shooting title "Faces of Fear", "A Taste of Sin" is an effective psychological horror thriller from prolific Germany-to-U;S. Filmmaker Uli Lommel. Biggest treat her for film buffs and horror fans is Lommel's equal-time raiding of not merely the works of Alfred Hitchcock, but also the Hitchcock-derived thrillers of Brian DePalma.

Prior to its present (tacked-on to suit a sex-themed ad campaign) moniker, picture bore a series of better titles: "Beyond the Bridge", "Double Jeopardy" and "Olivia".

Opening (culled from Hitchcock's "Marnie") has 6-year-old Olivia (Amy Robinson) watching (through a keyhole) her British prostitute mother servicing a G. I. who's into bondage. She helplessly sees her mom killed by the G. I. Fifteen years later, Olivia (played as an adult by Suzanna Love, star of all even of Lommel's U. S.-made pics) has a British husband Richard (Jeff Winchester), and dresses up at night to relive her mom's experience as a streetwalker near London Bridge. Controlled by her (imagined) mom's voice from beyond the grave, she starts killing her customers while being wracked with guilt for not coming to mom's aid versus the G. I. Olivia falls in love with Michael Grant (Robert Walker), an American working on a project to restore the bridge. In a fight with Richard over her that takes place on the bridge, Grant is victorious, and Richard ends up hurtling into the water below.

With the film half over, scene shifts to Arizona four years later where London Bridge has been transplanted (along with its fatalistic associations for the lead characters). Grant finds Olivia working as a condominium saleslady using a new name (Jenny) and with a new mousy appearance and American accent. Suspenseful plot twists (and red herrings) involve lifts from "Vertigo", "Obsession", "Sisters","Psycho" -you name it.

Though this type of derivative filmmaking is hotgly criticized these dys (with DePalma perhaps the number one whipping boy), Lommel plays it straight and comes up with an entertaining B picture. He obviously enjoys the Hitchcock association, even casting Vera Miles from "Psycho" in his next film "Brainwave" (opposite Tony Curtis instead of Janet Leigh) and recalling Walker (son of "Strangers on a Train" namesake and near lookalike) for the lead in "Devonsville Terror".

Suzanna Love is quite impressive in the chameleon lead role, calling for at least three distinct personalities. Walker, still looking boyish at age 40, is an empathetic hero, though one keeps expecting him to become sinister, given Hitchcok's switcheroo casting of his dad 30 years earlier. Joel Goldsmith's synthesizer music score is effective, but the film is hampered by drab would-be film noir visuals, for which five cinematographers are credited.

As a child, Olivia witnesses the brutal murder of her prostitute mother by a client; fifteen years later, she is in an abusive marriage, and, suffering from schizophrenia, hears her dead mother's voice instructing her to become a hooker. Olivia (Suzanna Love) kills her first customer, but falls for American engineer Mike Grant (Robert Walker Jr.), who treats her with kindness and compassion.

When Olivia's husband Richard (Jeff Winchester) catches his wife in a passionate clinch with Mike, he attacks the engineer, but accidentally falls from London Bridge into the Thames during the altercation, after which Olivia disappears into the night.

Four years later, Mike is working at Lake Havasu City, Arizona, where London Bridge has been reconstructed. There, he bumps into a condo saleswoman called Jenny, who he recognises as Olivia. They rekindle their love affair, unaware that Richard is still alive, and has tracked Olivia to her new home in the desert.

Theories abound about the exact meaning of the nursery rhyme 'London Bridge is Falling Down', an enduring playground favourite amongst young children. Ulli Lommel's Olivia (AKA Prozzie AKA Double Jeopardy), which centres around the famous bridge, is also something of a puzzler. I suspect that the director was trying to use the bridge, so out-of-place in Arizona, as a metaphor for Olivia herself - but it's a clumsy conceit that Lommel is unable to make work.

The awkwardness of Lommel's uneven script is compounded by ham-fisted direction, terrible acting, and badly executed scenes of violence, Lommel even resorting to borrowing from his own (utterly diabolical) Bogeyman II, with a ridiculous death-by-electric-toothbrush scene (it didn't work there, and it's just as unbelievably dumb here as well).

An obvious low budget certainly doesn't help matters, the film looking cheap and nasty throughout, but even if Lommel had been able to 'build it up with silver and gold' I doubt if he could have made Olivia anything but another rather forgettable clunker.