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Naked girl killed in the park
The title good for a tabloid we know is a trick often used to attract audiences, this time has fewer links with the story than usual. The girl of title is there, but it's a rather free passage in the story. But apart from that our Alfonso Brescia tries to do things well, precisely and elegantly in the manner of the best Italian thrillers of the time. He does not always succeed, because in the end this film latency in the plot, in the acting and in the production. Yes, the production, which as reported in the DVD by Cinekult had in mind to set the story in Vienna ("Prater Shock", provisional title), just to c link with an incipit set during the Second World War. But then, for various reasons, including the Italy / Spain co-production, everything moves to Madrid (with very few images of the city) and the title becomes what we know.
And these changes slightly shatter history, its weaves and its elegant ways, with the whole often sounding out of place and a little eccentric.
We are in Madrid but there is a little Iberian estate and a brewery that would look good in Monaco and then nobody has a Spanish name, not even those who trigger the events, that is, the elderly Johannes Wanterburger who is found dead, with a full suitcase of money on a trolley of a "house of terror" of an luna park (a really good idea). All, the day after Johannes sign life insurance.
And here the chaos begins. One of the daughters, Catherine (Pilar Velázquez) starts early to receive the proverbial anonymous calls. An insurance consultant, the handsome Chris Buyer (Robert Hoffmann) investigates the incident and falling in love with the girl and ending up in the strange family of Wanterburgers. We have: a rather frivolous sister (Patrizia Adiutori) a mother in the grip of hysteria interpreted by Irina Demick and a series of housekeepers as always rather sinister among who stands out the silent groom, who has a hot sexual relationship in the stable with the Catherine's sister. But the mystery does not disappear and Inspector Huber also arrives, played by none other than Adolfo Celi who with Philippe Leroy is the best known name of the film, although both in a very marginal role.
In short, Brescia respects and follows all the canons of thriller between death, mystery and sex, but it does it in minimal doses, with a lot of confusion, with a direction that does not give twists and above all with a more soporific than electrifying cast.