Despite not being as artful as the masterpiece 'Seven Blood-Stained Orchids', or as fun as the trash classic 'Eyeball'; Umberto Lenzi's Spasmo is a Giallo highlight in it's own right, and a big plus point for the versatile director's filmography. It's rather hard to believe that a director of such films as the aforementioned Eyeball, as well as the likes of Nightmare City could have made a film as sombre as this one; there's barely any of the gore and nudity that many Giallo fans look for on display, and instead Lenzi has opted to concentrate on the story and characters. It has to be said that Spasmo isn't the most entertaining film of the genre; but thanks to Lenzi's handling, it's one of the most fascinating
.and most frustrating. The plot follows Christian; a young man who discovers an apparently dead young woman while walking on the beach with his girlfriend. It turns out that she isn't dead, and it's not long before the two of them are about to go to bed together. However, the pair is interrupted by a stranger, whom Christian accidentally kills. From there, the action switches to a so-called safe house and the plot thickens...quite a lot, actually.
Giallo's are famous for featuring convoluted plot lines, but this one takes it to the next level. Umberto Lenzi takes us on a tour of red herrings before eventually turning back full circle to deliver an unexpected climax. The film takes obvious inspiration from the Alfred Hitchcock classic 'Psycho', but unlike a lot of films that use Psycho as an inspiration; here it isn't obvious, as the plots aren't similar and it's only a central theme that the two films share. There isn't a great deal of graphic murders in this film; one that sees a man ran over is about as bloody as it gets, and there's barely any nudity either. This puts more focus on the plot, which doesn't always do the film a lot of favours as it dries up a bit too often, and Lenzi would have been better served dishing up some gore as usual. Robert Hoffman makes for a decent lead, while Suzy Kendall; a prolific Giallo actress isn't given much to do. Ivan Rassimov makes his mark in the support cast, however, and is my pick of the bunch. The atmosphere isn't a major strongpoint with this film either, although Lenzi's use of a number of dolls is good. Overall, this is an enjoyable film; even if it is a little convoluted, and it comes just about recommended to Giallo fans.
Giallo's are famous for featuring convoluted plot lines, but this one takes it to the next level. Umberto Lenzi takes us on a tour of red herrings before eventually turning back full circle to deliver an unexpected climax. The film takes obvious inspiration from the Alfred Hitchcock classic 'Psycho', but unlike a lot of films that use Psycho as an inspiration; here it isn't obvious, as the plots aren't similar and it's only a central theme that the two films share. There isn't a great deal of graphic murders in this film; one that sees a man ran over is about as bloody as it gets, and there's barely any nudity either. This puts more focus on the plot, which doesn't always do the film a lot of favours as it dries up a bit too often, and Lenzi would have been better served dishing up some gore as usual. Robert Hoffman makes for a decent lead, while Suzy Kendall; a prolific Giallo actress isn't given much to do. Ivan Rassimov makes his mark in the support cast, however, and is my pick of the bunch. The atmosphere isn't a major strongpoint with this film either, although Lenzi's use of a number of dolls is good. Overall, this is an enjoyable film; even if it is a little convoluted, and it comes just about recommended to Giallo fans.