Una sull'altra

Plot synopsis:
San Francisco, California. George Dumurrier (Jean Sorel) is a wealthy and good-looking businessman doctor with the emphasis on the business. He runs a clinic with his younger brother Henry (Alberto De Mendoza), but leaves care of his asthma-stricken wife Susan (Marisa Mell) to her sister Martha (Faith Domergue) and a local nurse. George is soon revealed to be having an affair with Jane (Elsa Martinelli), the personal assistant to Larry (Jena Sobiesky) a trendy photographer. Although very much in love with George, Jane is fatalistic about the future of their relationship.George and Jane travel out of town for a romantic break in Reno. But after arriving at the casino, George receives a phone call from Henry telling him that Susan has died after suffocated during a violent asthma attack. Returning home to his plush San Francisco home, George is consoled by Henry, but frozen out by the hostile Martha who has always disapproved of George marrying her sister. However, a $1 million insurance policy left by Susan is a timely bonus for George's recklessly extended business enterprise. But perhaps too likely as an insurance agent (Bill Vanders) begins tailing George, discovers his affair with Jane, and brings his suspisions to the local police detective, Inspector Wald (John Ireland).Meanwhile, an anonymous tip-off leads George and Jane to 'The Roaring Twenties', a strip club in Reno where the are both astonished the appearance of Monica (also Marissa Mell), a nightclub stripper who, although a luxuriant blond, bears an uncanny resemblance to the dead Susan. George is morbidly attracted to her and soon embarks on an affair that is part detection, part willing seduction. However, when the police, who have been tailing him, arrest Monica, she tells them that she was paid to pose as Susan by a woman calling herself Betty. Monica, as the police discover, is a popular fixture lately among the city's high class prostitutes. She has a devoted wealthy client, named Benjamin Wormser (Riccardo Cucciola), whose hopeless passion she toys with. When Benjamin hears about Monica's arrest, he arrives at the police station with her exorbitant bail, but soon discover that she has already been spring by someone the police will not name.A police search led by Inspector Wald of Monica's apartment turns up an envelope containing money. When George's fingerprints are found on the envelope, the police arrest him and charge him with murdering his wife for the life insurance policy. Monica goes missing, and George is tried, convicted, and sentenced to death. Some months later, on the eve of George's execution, his brother Henry arrives for a visit where in the privacy of an interogation room, the gloating Henry reveals all that has happened: he and Susan have hatched up this entire plot to get him out of the way and get the insurance money all for themselves. Monica is really Susan all along and faked her own death to implicate him. After Henry leaves, George tries to get a stay of execution by informing his lawyer about when Henry said. But despite some last-minute investigation by Inspector Wald, George is unable to clear his name. Only Jane continues to believe his innocence, but she is held in check by Larry.The day arrives as George is taken out of his cell to the gas chamber to be executed, still protesting his innocence. At the last moment, a phone rings where the state governor orders the execution halted as a telex arrives at the local FBI office that is forwarded to the prison authorties. In a twist of fate, the French police in Paris have informed the U.S. authorities that a woman identified as the dead Mrs. Susan Weston and her brother-in-law Henry have been shot dead in a local café by the spurned and suicidal jealous Benjamin Wormser.

Tags: insanity, pornographic, murder

Review:
This little Italian number is superficially similar to the famous Hitchcock film "Vertigo" in its basic premise and in its San Francisco location.
She also has copious nude scenes (if you're into that sort of thing).You might also have heard of the director of this one, guy named Lucio Fulci, made a few zombie movies or something.
Fulci fans will find the plot of this film to be surprisingly coherent, but will probably be disappointed at the lack of gore (aside from one grisly scene of a post, post-mortem).
No gore this time, but still a great Lucio Fulci film!.
It's hard to believe that this thriller was directed by the same man who would go on to create such gory highlights as Zombie Flesh-Eaters and City of the Living Dead, but indeed this is a film from the Lucio Fulci that us gore hounds know and love.
His later Giallo, such as A Lizard in Woman's Skin and Don't Torture a Duckling weren't as bloody as Fulci fans are used to, and this one is even less so; in fact, it isn't even a horror movie.
Fulci does find time for graphic images, however, but things such as a badly decomposed corpse look out of place in a movie that is much more about mystery and suspense than shocking its audience.
Fulci often doesn't get the respect he deserves when it comes to movie-making, and that's unfair as he really does know how to tell a story.
Shortly thereafter, the corpse of his wife is unearthed and traces of poison are found in the body...The film takes obvious influence from the great Alfred Hitchcock film 'Vertigo', but unlike a lot of Italian films from the sixties and seventies; this one is not merely a retread of its popular American influence.
There is a lack of murders in this film, which may disappoint Giallo and Fulci fans; but the intrigue that appears instead offsets this nicely, and overall I don't hesitate to say that One on Top of the Other is one of the great Giallo films!.
The film is well staged in and around San Francisco and features ample but appropriate nudity.The whole things builds momentum and suspense with an especially cleverly done ending.
It actually looks like it was all shot in English as there is none of the usual rubbery lip sync.Fulci was not a one trick pony director (as the better known Dario Argento definitely is) and if you're interested in seeing his diversity, see this film.
It has as much erotic and exploitative elements as it has elements from pre-giallos like Mario Bava's excellent Blood and black lace and his older work, Girl who knew too much.
It isn't as psychedelic as Fulci's other giallos like Lizard in a woman's skin or as tense as his Don't torture a duckling or Sette notes in nero.
Still, however, I found it very entertaining and I would even say it's one of the best non-gore movies from Fulci I've seen (and trust me on this one, I've seen lots of them too).Movie follows a basic giallo structure, even though it was made in the same year with "the first actual giallo", Dario Argento's fabulous L'uccello dalle piume di cristallo, and in the way that it doesn't rip-off that movie as many other giallos does.
That's why I cannot really say honestly that I found this one to be real giallo, but more like pre-giallo.What comes to the plot of the movie, it's not really as simple as it might seem, but has many twists and misleads when police are trying to find out how the things really are (who is lying, who is telling the truth).
Ending was really nicely surprising too, I really enjoyed it.So, if you are bored with Fulci's not as good non-gore movies or if you just want a quick peak to the fantastic world of pre-giallos, One on top of other is highly recommended.
This may not be a horror film or even strictly a giallo but still it's a top notch sex and psychedelic dressed mystery that is a must see for fans of mid sixties to mid seventies Italian cinema.
In the end, the film even becomes a statement against the death penalty (the story takes place in the U.S.).Although there are certain elements of giallo in here, I wouldn't call "Una sull'altra" a giallo; it's really a rather classic crime story concerning "indecent affairs" (on which some of the English titles refer).All in all a good film, although the average Fulci-fan probably will be disappointed about the lack of any gore in this one..
Again, the dubbing is pretty ropey but if, by this point, you're seeking out some of Fulci's lesser-known works then it's safe to assume you've made your peace with this constant problem.Marissa Mell is great as the femme fatale and Elsa Martinelli is cool and chic as the devoted mistress who, despite herself, can't stop believing in her man.
In fact, the female performances are much stronger than the men, probably because Jean Sorel doesn't have much to do except wander around with his shirt off, looking bewildered.Great photography of San Francisco, looking as good - if not better - than in BULLITT.
The story is suitably set in San Francisco, where the infamous doctor George Dummurier owns a private clinic but spends most of his time on the road with his mistress Jane.
Despite also being known as "Perversion Story", this movie mainly focuses on style and tension, and the only remotely gore sequence involves an autopsy on a decomposing body.
The lack of further murders or sleaze is a bit of a weakness, but this is widely compensated by Fulci's concentration on coherence for a change, and the multiple tributes to classic Film Noirs and Alfred Hitchcock's repertoire.
The acting performances are at least ten times better than usual in Italian horror productions, with Marisa Mell ("Danger: Diabolik!", "Seven Blood-Stained Orchids") and Jean Sorel ("Short Night of the Glass Dolls", "Lizard in a Woman's Skin") really leaving a good impression.
The music by Riz Ortolani is mesmerizing, as always, the choreography is often very imaginative and there's some splendid camera-work with multiple great shots of San Francisco locations.
In case you're an admirer of story-driven crime films, or just Italian cinema in general, this is definitely a movie you should keep an eye open for!
Lucio 'godfather of gore' Fulci may be best known for his ultra-gory Zombie films, but the majority of my fellow fans of Italian Genre-Cinema will probably agree that his Gialli from the early 70s, most notably his greatest masterpiece "Non Si Sevizia Un Paperino" aka.
"Perversion Story"/"One on Top of the Other" pf 1969 is a very gore-less but utterly fascinating Thriller/Mystery which no Cult-fan should consider missing.As some other early specimen for the genre, this isn't a typical example for the Italian Giallo, as it doesn't focus on a series of murders.
The womanizing San Francisco Doctor George Dumurrier (Jean Sorel) is with his mistress, the erotic photographer Jane (Elsa Martinelli) when he hears that his wife, who suffered from grave asthma, has died.
Soon thereafter, George makes the acquaintance of the sexy and mysterious stripper Monica Weston (Marisa Mell), who happens to be the spitting image of his wife.
I do not want to go into detail about the wonderfully convoluted storyline, but I can assure that "Una Sull'Altra" should satisfy any fan of suspenseful mysteries in general and Italian Cult cinema in particular.
The rest of the cast includes several other well-known cult-actors such as Alberto De Mendoza ("Lo Strano Vizio Della Signora Wardh", "La Coda Dello Scorpione"), John Ireland and Riccardo Cucciola, who is probably best known for his role in Mario Bava's 1974 masterpiece "Cani Arrabbiati".As Fulci's later Gialli, "Una Sull'Altra" is elegantly shot.
While the San Francisco setting differs from the typical Italian Giallo-Settings it has a great potential for atmospheric beauty which Fulci makes best use of.
"Una Sull'Altra" is a suspenseful, atmospheric and highly interesting film that is worth watching for many reasons.
The first giallo made by Godfather of Gore Lucio Fulci..
Doctor George Dumurrier(Jean Sorel)is a handsome and rich man who has his own private medical clinic.He is married to Susan(Marisa Mell),but their marriage is unhappy as his wife feels neglected.George has long-time mistress named Jane but he doesn't want to leave Susan while her health is deteriorating.When Susan suddenly dies Dumurrier encounters a stripper who looks strikingly similar to his late wife.Gorgeously photographed giallo obviously inspired by Alfred Hitchcock's "Vertigo".There is plenty of sex and steamy eroticism plus a little bit of violence.I particularly enjoyed Marisa Mell's performance as a cunning femme fatale.San Francisco seeped in late 60's hippie psychedelia is a perfect setting.There is a brief moment of gore when rotting corpse Fulci style is shown.No black gloved killers with childhood traumas,though.8 death rows out of 10..
I must admit that I do not care for the films of Lucio Fulci - his horror films are filled with repulsive gore and devoid of intelligence, and his gialli (murder mysteries) are better but filled with unnecessary perversion and debauchery - so suffice to say I was apprehensive when viewing this giallo by the "godfather of gore".
It does seem to plod somewhat in its initial reels as it focused on the lavish lifestyles of a stripper and a photography model, but once the twists begin at the half-way point the viewer's interest is perked and it manages to hold onto it until the end.The direction is surprisingly subtle and aesthetic for a Fulci film, focusing upon images of mirrors and reflections on glass windows the reflect upon the duality of the characters (each often have two sides to their beings, such as the doctor who is married but is having an affair, but also the fact that the doctor believes his wife has a doppelganger).I wouldn't necessarily recommend this film to many as its material is lurid (despite Fulci's admirable restraint), and the plot isn't anything unique, but it's all done in a very sufficient and stylish manner with just enough intelligence to make it a pleasant watch.
Recommended for giallo fans, a slight recommendation to mystery/thriller aficionados, but others not really interested in the genre should just watch Hitchcock's "Vertigo" again..
But the plot is no less good, and although Fulci is best known for horror, he clearly had thrillers mastered as well..
While my preference in Giallo films lies in the ones that play out in a more Horror or Gothic kind of way, One On Top Of The Other (Perversion Story) sits at the other end of the spectrum which is more of a Crime Detective Thriller.
Jean Sorel and Marissa Mell are both great but this is my least favorite film I've seen either in so far.
One of the many Italian horror/suspense movies, Lucio Fulci's "Una sull'altra" (alternately called "One on Top of the Other" and "Perversion Story" in English) is pretty much what you would expect.
What a combo.Anyway, this story of a San Francisco doctor (Jean Sorel) who lets his wife die while having an affair, only to come across as a stripper who looks strangely like his wife is no masterpiece, but is very enjoyable nonetheless.
As for the sleaze, there's probably more nudity and sex in this movie than in Fulci's A Lizard in a Woman's Skin and Don't Torture a Duckling combined.
As for the mystery elements, Fulci fills the film with enough red herrings and other mystery tricks for two or three movies.
Solid cinematography, nice San Francisco locations, an outstanding Riz Ortolani score, above average acting, and Marisa Mell make One on Top of the Other a new favorite of mine.My only complaint (and it is admittedly a small one) is the amount of screen time showing the film's protagonist sitting on death row waiting to die.
A little tighter editing during this 10 or so minute segment might have helped make One on Top of the Other the best Giallo I've ever seen.I mentioned Marisa Mell in the opening paragraph and if you're a fan, you owe it to yourself to track down a copy of One on Top of the Other.
He's married to the sickly Susan (Marisa Mell), while making time with fashion photographer Jane (Elsa Martinelli).
Soon, he's suspected of having killed her (or arranging to have her killed), but the real wrinkle is that he receives a mysterious message to check out stripper Monica Weston (also played by Mell), a dead ringer for his wife.The masterful Lucio Fulci shows with efforts like this that he had the talent to pull off an effective mystery without resorting to violence.
Much like Hitchcocks' "Vertigo", the American city of San Francisco plays no small part in the telling of the tale, and we get some lovely shots of the place.
Be sure to look out for Bobby Rhodes (from the later "Demoni" horror films) as a prison guard.Highly recommended to Fulci devotees.Eight out of 10..
Deliriously entertaining and stylish Fulci film, though not much of a giallo.
"Perversion Story", as it is hilariously known, is an extremely entertaining stroll through the psychedelic, kinky '60s with some negligible giallo properties.'69 must have been the height of the whole 'porno chic' thing where strippers and nude photo shoots were not considered sleazy in the least.
Gathering inspiration from Vertigo, Fulci felt that the script for Perversion Story ranked among his best.Unlike many of his later films, this movie enjoys a decent budget, with eight weeks of principal photography and location shooting in San Francisco, Reno and Sacramento, including a gas chamber sequence shot at the San Quentin State Prison.George Dumurrier (Jean Sorel, Belle du Jour) is the protagonist, a wealthy doctor who runs a clinic with his younger brother Henry (Alberto de Mendoza, The Strange Vice of Mrs. Wardh).
He's caring for his asthma-stricken wife Susan, (played by Marisa Mell, just as gorgeous here as she is in Danger: Diabolik and could be the ultimate Fulci girl, as she nearly lost her right eye in a 1963 auto accident, with the distinctive curl of her upper lip the only remaining evidence of the damage) while he's also having an affair with Jane (Elsa Martinelli, The 10th Victim).George and Jane travel to Reno for a romantic getaway whole Susan remains in the care of her sister Marta (Faith Domergue, The House of Seven Corpses) and a nurse.
There's an amazing scene here where we watch the lovers from under the bed -- Fulci almost shoots it as if the camera is below them and we're caught in the space between reality and dream, true life and forbidden passion.When they arrive at a casino, George has a message waiting from his brother: his wife is dead.
Returning home to San Francisco, George meets the disapproving gaze of Marta who believes that he has to be behind her sister's death, as he stands to receive $1 million dollars in life insurance, money he desperately needs for his business.
That said, an insurance agent has been following George and Jane and informs police inspector Wald (John Ireland, I Saw What You Did, The Incubus) of his findings.In the midst of all this scandal, George and Jane get an anonymous tip that leads them to The Roading Twenties strip club, where they meet Monica, an exotic dancer who looks exactly like Susan with blonde hair -- shades of Vertigo fed through Italian sleaze!
For someone who would later contribute to some of cinema's most stomach-churning excesses, this sequence is an exercise in beauty.What's striking about Perversion Story is that on the surface, the film seems like its going to be pure exploitation.
It's the film's most pathetic character that actually closes off the tale.Perversion Story doesn't have all of the trademarks of the giallo -- multiple on-camera murders, POV shots of mayhem and black-gloved killers.
Complete with an uncut 108-minute version with English and Italian audio tracks restored from the original negative (with additional scenes provided by a 35mm print), this edition also features interviews with Jean Sorel and Elsa Martinelli, as well as an incredibly insightful commentary on the movie by Stephen Thrower, author of the book Beyond Terror: The Films of Lucio Fulci.
I don't know who's dead body was in the morgue, was that the nurse assigned to watch over the wife, I don't know.Filmed well, and the scenes of 1969 San Francisco along with the music are worth the admission.
Though Perversion Story pre-dates Fulci's emergence as one of the most beloved Italian horror directors of all time, most genre fans who take a look at this early experiment will end up wishing that he had found his dark muse sooner.Granted, Perversion Story isn't unwatchable, and as a fairly standard twist-driven caper there are times when the film works quite well.
But the absurd denouement falls resoundingly flat, and any steam Fulci builds along the way is abruptly quelled when the film unravels in the final act.The story centers around the womanizing Dr. Dumurrier, his shady mistress, and a stripper/prostitute who bears a striking resemblance to the physician's dead wife, Susan.
As the plot unfolds, we discover that Dr. Dumurrier may be being framed for the murder, and more startlingly, that Susan may not actually be dead at all.Despite the alternate titles' emphasis on the carnal components of the story, Fulci's reliance on soft-core sex to drive the movie is actually notably restrained.
However, Fulci does a fine job of using artistic lighting and angles to heighten the sensuality of these scenes, and thanks to nifty touches like a camera shot looking up through the mattress at the writhing bodies above, even if the actors look bored while they explore each other, you won't be bored watching them.Elsewhere, the acting is decidedly above par, with excellent performances from Jean Sorel and the sultry Marisa Mell as Dr. Dumurrier and exotic dancer Monica Weston, respectively.