Lovesusti The Worst Film Ever

Majorthebys Charming and brutal

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

The_Void L'Immoralita is a film that is difficult to pigeon hole into one 'type' of film, but suffice to say it's an entertaining and well worked thriller with enough substance to satisfy most viewers, providing they can stomach the sometimes uncomfortable tone of the movie. Almost everything about the film really is rather detestable and as such the characters are hard to care for; making watching the film akin to watching a car crash at times. The film begins with a scene that sees a man carrying the body of a dead girl before burying her, and then being pursued by a bunch of people with guns. This man turns out to be Federico; a murderer and paedophile, wanted for killing children. Wounded, he bumps into a young girl who he befriends after she offers him shelter. The girl lives with her parents; the mother, lauded as the town slut, and her dilapidated father who is rotting away in a wheelchair. The murderer and the child grow closer together despite the law being after him and the pair develops a friendship that is shattered when the mother discovers the sheltered criminal.This film is not easy viewing and features certain things that go over and above what I'd call 'bad taste' - a sex scene between a man and an eleven year old girl stands out in particular. There's not a real point to the film as such and it's more of a character study with the character's decisions providing the main points of interest. The two adults of the central cast have very distinct elements about their personality that are very easy to dislike, while even the young girl is the not the sweetness and innocence that you would expect. The way the plot moves is not completely typical and the film does veer off down paths you would not necessarily expect, and that does ensure the film remains interesting throughout. Credit has to go to director Massimo Pirri for keeping the film firmly in 'high class' territory - with a plot like this, it would have been easy for him to have ended up making a trash film. It all boils down to a typically shocking conclusion and while this film definitely won't float everybody's boat, it is a very interesting thriller one that is definitely worth seeing.

vocklabruck When I started watching this film I wasn't expecting too much. I thought I was going to hate it according to what I had read, but I decided to give it a try. It surprised me! It was a really good film with a very original story. Being an Italian low profile production it managed to be suspenseful and interesting.The acting was good enough, especially the actress portraying the mother. And I loved Simona, the kid, and rooted for her all the time. By the way, the piano score was very nice and followed the story perfectly.I don't want to spoil the movie because I think it really deserves to be watched. So if you like good drama with an original story (something hard to find these days) go for this one!

MARIO GAUCI This is the third Lisa Gastoni "mignotta-movie" (to borrow a phrase from Italian Euro-Cult authority Marco Giusti) I've watched – after THANK YOU AUNT (1968) and Fernando Di Leo's SEDUCTION (1973) – in which a middle-aged woman is seduced by a much younger man. Also, like SEDUCTION, here the man is, in turn, seduced by Gastoni's sexually precocious daughter. However, this fact is even more disturbing than the earlier film because the girl involved in this case is not yet 12-years old! There is even one rather graphic love scene between the girl and the man in the bathroom, which follows further nudity as she is seen coming out of the bath and drying out; that it does not feel reprehensible or exploitative is a tribute to the remarkably sensitive performance of Karin Trentephol (who, perhaps unsurprisingly, never made another film appearance) as the girl.Lisa Gastoni (at 43) is still a sensual and attractive woman and has her hair dyed reddish blonde here, but this proved to be the last of several roles in a similar mode – to which I alluded above and of which I wouldn't mind catching Jerzy Kawalerowicz's MADDALENA (1971) and Giulio Petroni's LABBRE DI LURIDO BLU (1975); in fact, she went into a long period of retirement right after this one before re-emerging two years ago. A welcome surprise is the appearance of veteran Hollywood star Mel Ferrer (as Gastoni's wheelchair-bound cynic of a husband) who adds some much needed dignity to the proceedings; while he had been appearing sporadically in Italian films since 1954, interestingly, his role here does not feel like a mere "meal ticket" – unlike some of his other Italian film work of the period, namely THE ANTICHRIST (1974), THE VIOLENT PROFESSIONALS (1975), etc. Unfortunately, Howard Ross' one-dimensional characterization of the rapist/serial killer sticks out like a sore thumb alongside this caliber of acting and, in any event, the actions of the characters strain credibility on occasion – Ferrer is conspicuously absent most of the time (although he is inherently aware of all that goes on in his household and his eventual suicide arises more out of selfishness than resignation at his crippled condition or the immorality of his kinfolk), not to mention the fact that the investigating police officer decides to consummate his obsession with Gastoni while the manhunt for the rapist is in full swing.Still the film is buoyed by Ennio Morricone's unusually subtle yet effortlessly haunting piano-led score and Massimo Pirri's firm directorial control that ensures the impact of several sequences on the viewer: the powerful opening scene in which Ross is holding his latest victim in his hands on his way to burying her; the lengthy, moving stairway confrontation between Gastoni and Trentephol; the confrontation between Ferrer and Gastoni in which the latter sadistically taunts the former by taking a hysterical spin on his wheelchair, and the twist ending which concludes the film on an admirably ironic note. While the central premise of a girl hiding and aiding a fugitive is reminiscent of WHISTLE DOWN THE WIND (1961) and THE SPIRIT OF THE BEEHIVE (1973), the action set-piece around the mid-point – where a band of villagers break into Ferrer's house with the intention of smoking the rapist out – is straight out of Sam Peckinpah's STRAW DOGS (1971). An odd attribute of the Italian DVD I watched is that some over-exposed shots jarred alongside the more naturalistic lighting within these same scenes, but I'm not sure whether this is a fault of the DVD transfer or if they were filmed that way to begin with...

littlelostwonders i picked up a copy of this movie at an old Italian owned video store, completely unaware of what i was about to witness for the next 90 minutes or so. what originally sparked my interest in this 70's obscurity was the box cover artwork, which was basically a black cover with a large keyhole in the center - a single eye looking through it. simple, but effective enough to get my $2 for a weekly rental.i'll never quite be able to fathom what the state of mind was like in the 70's, particularly in Italy (the origin of this film). i'm simply left speechless when i see a film like this. not that it was good. it was downright sleazy, and altogether badly done. but what concerns me here is the film's content.in brief, a escaped killer (supposedly child killer) befriends a young girl of roughly 12 years of age. she takes him to her house in a beautiful remote part of the countryside, and hides him in the basement. her mother (a widow, or divorced?) soon learns of his presence in the house, and they eventually become lovers. but it is only to be short lived as this killer will soon meet his fate.what strikes me about this film is not only the explicit content, but a brief sex scene between the killer and the young girl, which she (the character) willingly participates in (its obviously a body double, but still!?) ... i was truly shocked. and its no wonder this film faded quickly into obscurity.my question is: how did a film like this ever get made? who were the people who financed this film, and others like it? it seems that for a brief while (in that decade where anything went) if you could conceive a story so depraved, and so totally wrong, there was a good chance of getting it made.i don't recommend this film to anyone. it would only hold interest to those who have a Lolita-fetish, or collectors of hard-to-find movies. in any case, just remember: I DO NOT RECOMMEND THIS FILM!