made with

sorry for the mistakes!


A Lizard in a Woman's Skin
The first few minutes are an absolute pleasure. No words, only the comment by Ennio Morricone in the mood to look for new paths that accompanies the psychedelic, hallucinated and erotic visions of the protagonist led by Lucio Fulci and the fine cinematography by Luigi Kuveiller.
A seductive beginning, not only for the presence of Florinda Bolkan and a half-naked Anita Strindberg, for a thriller in which Fulci, as always, gives her own version of the genre, although we are near Dario Argento, with some references to Hithcock.
Leaving aside the title that is only an argento’s reference wanted by the production for obvious commercial reasons, the Roman director takes us into a psychedelic story, with several stylistic pearls and the clear goal of destroying psychoanalysis of which ours has never been publicly great fans and also certain hypocrisy of the wealthy class.
Unfortunately, the film often enters a story that is too dense, difficult to follow, which confuses the viewer to whom all that remains is to cling to the suggestive visions proposed. Those are many. The scientist who takes pictures around the corpse. The scene that led Fulci and Rambaldi some troubles, that is, the one in which vivisectioned dogs appear an effect that today is not very credible but brought the two to court. The bright colours and the brilliant idea of the "blind" witnesses.
We are in London. Carol Hammond (Florinda Bolkan) is the daughter of a well-known lawyer, married to Frank (Jean Sorel), another well-known lawyer. The woman is really disturbed by the uninhibited and party life of nearby Julia Durer (Anita Strinberg). Carol being treated by a psychoanalyst says she had a dream in which she killed Julia. A few days later Julia Durer is found dead in her apartment and in the way described by Carol. As if this were not enough near the corpse, objects and footprints of Carol are found who the main suspect becomes. But the investigation also involves other people, from Frank, to lover Deborah, her stepdaughter and some hippie friends of the victim. To lead the case is the too brainy inspector Corvin (Stanley Baker) who finally find who is the culprit.
If, as said, the story is difficult to follow and, after the film is finished, it leaves some doubts,  but Fulci directs with great skill an excellent cast, which travels well in the many psychoanalytic sides.