Sergio Sollima didn’t direct very many films. His career is split fairly evenly between theatrical and televised fare. Devil in the Brain is not what anyone would consider a technically outstanding movie, but it is solid in its craftsmanship.
The Sister of Ursula is like watching a Jess Franco film without that director’s flare. Contemplate that one on the Tree of Woe. Sex scenes, the Italian coast, outlandish murders — everything about The Sister of Ursula seems to operate under the directive of “Well, this should be good, but we’re going to mess it up.”
In fairness, there does seem to be a genuine attempt to create an actual film here. Take the word “attempt” literally in this case. Moments of suspense and dread, though presented with apparent sincerity, are nonetheless clumsily presented few and far between.
Had Dark Purpose been an hour long episode of a TV show, it would have delivered. But forced to come up with, roughly, three half-hour acts, it can’t sustain the momentum and Shirley Jones, while perfectly acceptable, just isn’t dynamic enough to make us forget nothing much is going on.
Gumnaam isn’t shy about the sort of films that have influenced it. Adopting the sort of jet set internationality of the 1960s, it becomes an amalgamation of old dark house mysteries and pop-art modernism filtered through the lens of Arabesque, Mario Bava, and Charade.
With Eye in the Labyrinth, Caiano demonstrates a sure hand in orchestrating his players, staging the action in striking tableaux, and allowing his creative muscles to stretch.
Few giallo directors were as adept at melding the sundry fetishes that defined the movement as Luciano Ercoli. Nudity, violence, cabaret numbers, quirky camera work, exquisite living rooms, and flash clothing all hit their crescendo under the steady guidance of a man who seems to treat every film as a fashion shoot.