Giovanni (Jean Sorel, Perversion Story) is shot in an underground car-park by a mysterious man and as he dies, he flashes back on his life - including jealousy, adultery and worse - in this 1971 giallo known here as The Double.
While vacationing in Morocco with his stunning girlfriend Lucia (Ewa Aulin, Candy, Death Smiles On a Murderer, Death Laid an Egg), Giovanni grows jealous of an American named Eddie (Sergio Doria, Cave of the Sharks). In retaliation, he forces himself on Lucia's mother Nora (Lucia Bose, The Legend of Blood Castle) and then becomes obsessed all over again that she's also in love with Eddie. To top all of that off, he soon finds the American's body in her apartment, so he disposes of the body to protect her. But if she wasn't in the country when it happened, who killed the man?
Oh yeah, and between being caught in a mother-daughter triangle with Lucia and Nora, there's also the gorgeous - and face-painted in one scene - Marilù Tolo to deal with.
Romolo Guerrieri also directed another giallo I really enjoyed, The Sweet Body of Deborah, and his artistic sensibilities elevate this film as well, starting with the Sunset Boulevard conceit of the main character getting killed off before we discover anything about him. And even more interesting is the fact that the more we learn of him, the less we like Giovanni.
While vacationing in Morocco with his stunning girlfriend Lucia (Ewa Aulin, Candy, Death Smiles On a Murderer, Death Laid an Egg), Giovanni grows jealous of an American named Eddie (Sergio Doria, Cave of the Sharks). In retaliation, he forces himself on Lucia's mother Nora (Lucia Bose, The Legend of Blood Castle) and then becomes obsessed all over again that she's also in love with Eddie. To top all of that off, he soon finds the American's body in her apartment, so he disposes of the body to protect her. But if she wasn't in the country when it happened, who killed the man?
Oh yeah, and between being caught in a mother-daughter triangle with Lucia and Nora, there's also the gorgeous - and face-painted in one scene - Marilù Tolo to deal with.
Romolo Guerrieri also directed another giallo I really enjoyed, The Sweet Body of Deborah, and his artistic sensibilities elevate this film as well, starting with the Sunset Boulevard conceit of the main character getting killed off before we discover anything about him. And even more interesting is the fact that the more we learn of him, the less we like Giovanni.