IN THE FOLDS OF THE FLESH

Ah, the Giallo. Sexy women in various stages of undress rendered into canvases of flesh and desire upon which masked (and usually black gloved) maniacs carve their sexual-psycho obsessions! Highly stylised, often convoluted, the Giallo is the superior cousin to the American slasher, which it practically gave birth to. A sub-genre reviled by critics who see sexism and misogyny in anything that dares depict either women or humankind in general in anything but the brightest light, the Italian thriller continues to earn enthusiastic fans around the world who celebrate the visual and storytelling excess of yesteryear. A specialized hybrid of the traditional murder mystery and suspense genres, this bold and bloody art form is known for its distinct stylistic flourishes and subversive celebration of excess. The purposely misleading structure of Gialli has often proved s as capable of telling an intriguing story as making violent death and psychological deviation an art form. The best of these subversive culture attacks marry solid plotlines with themes that challenge mainstream consciousness. "One of the most bizarre Gialli of all time!" the back cover of Severin's newest sleaze offering rants. While not perhaps the most bizarre or taboo breaking, In The Folds Of The Flesh sure comes close, combining a stealthy and emotionally cold style with a story not afraid to dig deep into the terrible desires of mankind. And with gusto!

Exotic film fans and scholars should thank their lucky stars that independent labels like Severin are devoted to rescuing such ignored counter classics as In The Folds Of The Flesh. Featured for the first time uncut and uncensored in America, the plot to this decadent union of art and 'trash' is surprisingly mature, reinforcing the plentiful gory festivities with emotional and thematic deviancies just as sordid. When prisoner Pascal escapes and is soon caught again by police, he has already witnessed a woman burying a corpse by a lake. After his release years later he returns to the scene of the crime only to find a bed-and- breakfast ran by three obviously disturbed caretakers. This unholy three includes Lucille, her son, and Falesse. Soon we discover that Lucille is an emotionally damaged survivor of the concentration camps, scarred by seeing her mother and daughter killed. A twisted labyrinth of debauchery, suspense, and shocks ensues when she determines to kill Pascal in grand fashion. Just when most films would be reaching their conclusion, Lucille's father shows up and all hell breaks loose in a brutal ballet of incest, decapitations, and Nazi flashbacks.

In The Folds Of The Flesh evokes both the physical horror of corrupted/damaged flesh and the ravages of mental illness. Director Sergio Bergonzelli evokes emotional terrors of betrayal, the modern world's sense of alienation, and the instinctive fear of loss. A reply to those already tiring of the somewhat stale repetitiousness of the art form, this thriller replaced black gloved killers with an orgy of thematic and stylistic excess. Filmed in 1970, after the Giallo template had been largely formed by Mario Bava, this utterly amoral and disturbing feature fell to the wayside when pitted against such talent as Argento, Sergio Martino, etc. Bergonzelli contributed an own unique voice to the genre, choosing to barrage the viewer with every excess of topic and style that he could think of, becoming something of a cinematic Oscar Wilde, screaming "carnage for its own sake!" And to quote everybody's favorite spaghetti sauce, "it's in there!" Thanks to Severin, we get to see every disturbing, enticing ounce. Not that flesh is the only excess delighted in, for emotional/psychological deviancy is also emphasized, and in many cases more disturbing. In fact, sexual deviancy, including rape and uncomfortably close family relations, is more shocking here than any amount of gore. Pascal is believably menacing as he imprisons the family and searches for a missing corpse, taking the women when he fells like it and in a scene of almost absurdist proportions, then demanding the exotic Lucille to whip him up some food! On a more sombre note, this film is notable as actress Pier Angeli's (Maria Pierangeli) last feature, who died in 1971.

Severin's presentation of In The Folds Of The Flesh is sharp, showing the respect and admiration with which they treat underground cinema. While a bit of grain and print damage is inescapable (due, one suspects, to the condition of the master), for the most part the visuals are superb in 1.85:1 widescreen. Imagery is sharp and colors bright. Sound is in Dolby Digital Stereo which balances sound and dialogue with a minimum of fuss. Extras are unusually lean for a Severin release, featuring only the Theatrical Trailer, an orgy of excess in itself.

Review by William Simmons