Like Luigi Cozzi's The Killer Must Kill Again, and Aldo Lado's Short Night of the Glass Dolls, Romolo Guerrieri's The Double has tried to do something a little different with the common Giallo formula, and like the latter film; this one isn't entirely successful, although it's certainly an intriguing take on Italy's finest style of film-making. The plot is narrated via a series of flashbacks, and while this gives the film a rather disjointed feel, the talented director ensures that every scene flows well and is relevant to the plot. The focus of this movie isn't on murder, despite someone being shot in the opening scene and it's always clear that the characters are the star of this show. The film revolves around Frank; the man shot at the beginning, as he lies in a pool of blood, he thinks back to how he got into that position - a story that centres on the mother of his nineteen year old girlfriend. Frank is an architect living off his father's allowance and he's also a jealous lover. He doesn't like his girlfriend seeing an American holidaymaker, also staying in Morocco - but he also can't resist the lure of his girlfriend's sexy mother...
The Moroccan locale that makes up the first part of the movie is beautifully shot, and director Guerrieri delights in overlapping his beautiful scenes with a catchy score from Armando Trovajoli. The film doesn't include a lot of tension or suspense, but The Double does manage to retain the viewer's interest by way of the characters' motivations. The film bathes in the glow of the people in the story, and this is one of the movie' strongest elements. The Double is brought to life by Jean Sorel, who takes the lead role. While his character is something of an interloper between the others in the plot, Sorel does well with what he has. Lucia Bosé and Ewa Aulin are both good as the female leads, and the director delights in capturing as much of their flesh as possible. The fact that the movie doesn't feature the stylish murders or exciting chase sequences that have made the sub-genre famous will leave some disappointed; and I've got to say that's true for me. Films such as The Forbidden Photos of a Lady above Suspicion have proved that sex and characters can carry a Giallo, but this one doesn't quite manage it. However; The Double is an interesting film and one that fans of Giallo will not want to miss.
The Moroccan locale that makes up the first part of the movie is beautifully shot, and director Guerrieri delights in overlapping his beautiful scenes with a catchy score from Armando Trovajoli. The film doesn't include a lot of tension or suspense, but The Double does manage to retain the viewer's interest by way of the characters' motivations. The film bathes in the glow of the people in the story, and this is one of the movie' strongest elements. The Double is brought to life by Jean Sorel, who takes the lead role. While his character is something of an interloper between the others in the plot, Sorel does well with what he has. Lucia Bosé and Ewa Aulin are both good as the female leads, and the director delights in capturing as much of their flesh as possible. The fact that the movie doesn't feature the stylish murders or exciting chase sequences that have made the sub-genre famous will leave some disappointed; and I've got to say that's true for me. Films such as The Forbidden Photos of a Lady above Suspicion have proved that sex and characters can carry a Giallo, but this one doesn't quite manage it. However; The Double is an interesting film and one that fans of Giallo will not want to miss.