Spasmo

Quite possibly the weirdest 'Giallo' movie I've ever seen is this Umberto Lenzi Spasmo. I'll try to give you a glimpse of the plot. It's about love dolls, wait, no. It's about two brothers. Hmmm.. let me start over. It's about a killing that wasn't a killing. Oh, I give up Spasmo is Spasmo. There that should tell you enough. It's not something one would care to sit through more then once as the surprising lack of blood and sex, makes one focus on the plot more closer. And that's the problem right there. what IS the plot of Spasmo?? It's driving me mad I tell you MAD.. spasmo..SPASMO!!! It does have a vaguely hypnotizing effect to it though.

My Grade: C-

DVD Extras: An Umberto Lenzi interview (which helped me try to decipher it); Stills gallery; Theatrical trailer; Trailers for "Eaten Alive", "Seven Bloodstained Orchids", and "What have you done to Solange?"

By 1974 the giallo genre was running out of steam and the films were getting more complicated, more violent and altogether weirder in an attempt to keep viewers coming. Director Umberto Lenzi made two that year, this one and the equally absurd Eyeball, leaving one to hope that Lenzi was putting the audience on and not the stark raving lunatic the films give the impression he was. Whereas Eyeball is a more conventional giallo, with a hooded killer picking off a variety of unwitting victims, Spasmo is more of a "Gaslight"-inspired venture. Someone may be trying to drive the irrepressible Robert Hoffman mad, but he needs little help, and the last fifteen minutes contain the strangest twists I've yet seen in a giallo. Those looking for a stylish thriller will be disappointed by the plant-the-camera-and-shoot direction, and don't expect anything like a plot that's worth following or characters with any relation to human beings. What makes it worth seeing is the genuinely dream-like story, linear yet impossible to follow, and the way each sequence transition requires a twisted justification by the viewer to accept that Yes, maybe it is possible that someone would do this. Here and there a haunting Morricone score comes in, sad and lovely as the one in "My Dear Killer," and there are inexplicable scenes of an unseen man stabbing female dolls, his identity revealed only at the very end in one the finale's many left-field twists. The only giallo remotely comparable to this one is Death Laid An Egg, and at least that had the excuse of being from the 1960's and (I assume) the use of mind-altering chemicals by its creators. I can't imagine what state of mind the filmmakers of this mini-classic were in while making it, but you'd be hard-pressed to find another film like it.

Umberto Lenzi's "Spasmo" is not really a horror movie as much as a psychological thriller. There's minimal violence, instead focusing on the main character's (Robert Hoffmann) descent into confusion. But as Lenzi explained in an interview, he had the flick turn out as it does to demonstrate how sick Italy's elites are. Like Lenzi's earlier "Orgasmo" (retitled "Paranoia" in the US), "Spasmo" shows that all is not what it seems in this supposedly nice group of people. Still, the sequence of events leading up to that have some pretty neat occurrences. I will say that I liked "Orgasmo" better (partially for the scene of Carroll Baker in the shower), but this one is definitely worth seeing. Also starring Suzy Kendall, Ivan Rassimov and Guido Alberti.

I don't know whether it was director Umberto Lenzi's intention or not, but in Spasmo he created a masterpiece of the absurd, a film so convoluted, disjointed, and bizarre in execution that it becomes strangely hypnotic, forcing the viewer to watch to the very end. I can't say I particularly liked the film enough to recommend it to anyone but avid giallo fans, but one thing I can guarantee... you won't have seen anything else quite like it before.

The film stars Robert Hoffman as Christian, a businessman slowly drawn into a strange and terrifying mystery after finding the enigmatic Barbara (Suzy Kendall) laying unconscious on a beach. To try and adequately explain the plot further would take me well over my IMDb word limit, but suffice to say that it's a disorientating head-scratcher, a psychological thriller that veers wildly from one scene to another, seemingly at random, with characters that repeatedly come and go for no rhyme or reason; the dialogue is equally strange, and yet the cast plays everything with complete sincerity, even when having to utter lines as strange as ""Hey, you remind me of a dying chicken" and "It's all so absurd, meaningless. And what's absurd is dangerous".

In true giallo style, Lenzi attempts to pull all the plot threads together in the film's closing moments, but although the revelations in the finalé do justify Lenzi's strange style of direction to a degree, and clears up why there are frequent shots of female mannequins throughout the film, it doesn't adequately explain why Christian is afraid of the dark, or why Barbara prefers her men without beards.

Spasmo(1974)Umberto Lenzi Christian Bauman (Robert Hoffmann,Death Carries a Cane, Naked Girl Killed in the Park) and his girlfriend while strolling along a beach see what they think is s dead body of a woman lying face down in the sand, as it turns out the girl named Barbara (Suzy Kendall,The Bird with the Crystal Plumage,Circus of Fear) is alive and claims to have passed out with the heat, but when Christian turns his back for a moment Barbara speeds away in her car leaving only a clue of a jar marked Tucania, which turns out to the name of a large yacht moored in the local harbour, Christian gatecrashes a party on board in order to see more of this alluring young woman, the host and Barbara's lover Alex is none to pleased at his intrusion but allows him to stay anyway. Meanwhile a mysterious hit-man with a gun and the habit of rolling marbles round his hand watches the yacht from afar, but who is his intended prey?

Barbara tired of the party on board offers Christian, the major shareholder in his family's plastics business a night he cant forget all he has to do is lose his beard, he doesn't need to be asked twice and before long he is in Barbara's bathroom removing the unwanted hair, but he is suddenly interrupted by the hit-man who comes through the window brandishing his gun, in the skirmish that follows Christian shoots and kills the intruder, Barbara horrified says they should run away together instead of notifying the police, they do this but return soon after only to find the body gone.

Barbara suggests staying in the house of a Brazilian painter friend for a while, as she is away, it's a house that is filled with stuffed birds of prey and caged exotic animals, reluctantly Christian agrees, but the house has been let out to an ex reporter and his young female friend, a bizarre couple who persistently act strange, in fact Christian thinks everyone seems to be acting strange, he constantly thinks he is being watched or followed and nobody except him seems to be acting rationally at all, not even his new love.

Nonetheless they accept an invitation to stay the night, where he has a quick liason with Clorinda the young woman of the house after which he flees the house speeding off to try and clear his head as to what is happening, he hears a dull thud from the trunk of the car, when he investigates he finds the hit-man there apparently dead, but he jumps up and orders Christian to drive to a local quarry where he aims to kill him for sure this time, again Christian gets the better of him kills him in a gloriously gruesome way, before setting him alight and pushing the car of the edge, below in the quarry he sees a man that he believes has been following him in a car with Barbara, he is even more confused now and follows them, they lead him to his own family business where he overhears them discussing with his brother Fritz Bauman (Ivan Rassimov,Jungle Holocaust,All the Colors of the Dark) their plan to have him locked up,the strange man mistakingly tells Fritz his brother has been killed in the quarry, Fritz is happy with this news, but this is the final straw for Christian and he sets out to take revenge on his sibling.

A really bizarre film, with really off the wall dialogue,Christian after a mere few hours of knowing Barbara calls her his "sweet little whore" and the film is full of things that just don't add up and characters that don't seem to have any relevance or relation to each other. Interspersed between all the action are various scenes of latex dummies being hung, stabbed and found mutilated, these add to the films quirkiness and leave the viewer baffled as to their meaning., the films linear storyline you would think would make it easier to follow but its not the case, its not until the films finale that Lenzi finally reveals the brutal and shocking revelations. Susan George clone Kendall puts in a fine performance as does Hoffman, Rassimov fits nicely into his usual bad guy role only this time with a twist. This is not your typical Giallo and here Lenzi who took over from Lucio Fulci as director of the project after he quit, dispenses with genre cornerstones (blood, gore,masked killer,black gloves etc..a fact that might be off putting for Giallo traditionalists) in favour of colourful characterisations and an exploration of madness and the psyche, in fact he also dispenses with the usual dark urban landscapes in favour of burning bright sunshine by the sea, a brave move that just about succeeds. Ennio Morricone's score is more percussive than usual and is at times generic but not without its charm. Another surprise contributor to the US release was one Giorgio Romero?, who added scenes of gore at the American distributors request much to the chargrin of Umberto, these were later removed for the Shriek Show DVD, the picture quality of which is decent but the sound suffers from the occasional hiss, also included is a brief but very interesting interview with Lenzi who is never one to mince his words