made with
sorry for the mistakes!
Omicidio a luci blu
“Homicide in Blue Light" did you say? Yes, a clear reference to
the Italian title of "Body Double" by De Palma. But do not worry, there
is an explanation to everything and that is Alfonso Brescia directing.
A guarantee for a certain cinema. Brescia, who signs Al Bradley stunned
(in the first minutes), showing scenes shot in New York and an
interesting cast with David Hess, Florence Guerin (someone will explain
to us soon or later why she came to Italy to make trash movies) and if
you also remember Wendy Windham.
The genre is obviously the erotic thriller, or at least it is what we
seem to see, of American style but with reminiscences of Argento and
Bava and and ideas taken here and there.
The enthusiasm for setting and protagonists, however, lasts very
little, because after about ten minutes we understand that we are in a
film with a bad direction and a poor cinematography and especially in a
story that gives us several spontaneous laughs. The thriller? The
murders? Oh yes, there are, start around half an hour and on this wave
of blood investigates Sergeant Flanagan (eye to fantasy with names)
played by David Hess in an incredible part of a good man.
The killer, on the other hand, likes to kill with a knife, leaving the
weapon and putting a fake hand grenade near the body. In the middle
there is also Starlet (the names, eh!) Interpreted by the always
beautiful Florence Guerin, photo model whose manager "advises" to be
kind with the clients and in the free time becomes Cherie (or Sherry
... another great fantasy!) A prostitute that satisfies somw
perversions. And if you think here that Florence Guerin is the
protagonist of exciting erotic moments, you are mistaken, because more
than anything else remembers Angela Finocchiaro in "Volere, Volare",
released among other things the same year.
Between a sexy set with our protagonist (which unfortunately shows very
little), romantic moments and Flananagan's investigations, the film
runs slowly trying occasionally to amaze uselessly with the editing.
The feeling is that everything is composed of a series of scenes held
together by a thriller and a murderer who leaves the weapon at the
scene of crime (it would be enough to take the fingerprints no?). But
this is Alfonso Brescia and so it's okay.
