‘It must be very exciting to make love with a murderer’.
Set in the 1870s, Scardamaglia’s La lama nel corpo is a typical mid-1960s Gothic giallo all italiana. The picture features William Berger as Dr Robert Vance, the head of a psychiatric clinic based in a decaying mansion. This Gothic setting forms the locus for a series of murders, of Vance’s patients. Who could the killer be? Fred, a male patient who exhibits violent psychotic breaks with reality? Dr Vance himself, who is claimed to have murdered his wife’s beautiful sister? And what is the source of the strange noises emanating from an upstairs room?
Into this mayhem comes Gisele (Francoise Prevost), who after an incident involving the horse-drawn carriage she is travelling in, is rescued by Vance and taken to the clinic in order to recuperate. Prevost is a wonderful female lead – mature, resourceful and beautiful – and far from the pathetic woman-in-peril of most Gothic fiction of the era (for example, the Roger Corman Edgar Allan Poe adaptations). She enriches the film, the screen lighting up when she appears, and gives the film a touch of class. Berger, sadly, is quite limp and unmemorable in his role.
La lama nel corpo is a film of many red herrings; its plotting suggests the influence of Mario Bava’s Sei donne per l’assassino (Blood and Black Lace, 1964). Some aspects of the story – such as Prevost wandering at night through the huge corridors of the clinic in search of the source of the mysterious sound she has heard from her room – make one wonder whether Dario Argento took some ideas from La lama nel corpo when making Suspiria (1977). Regardless of the fairly non-distinctive narrative, the film’s setting adds much to the picture, the production design creating a strong sense of atmosphere that is amplified by the predominantly low-key photography. Throughout, there is much staging-in-depth using the full horizontal axis of the ‘scope frame, with action taking place in both the foreground and background of the compositions.
Viewing Notes. La lama nel corpo has been difficult to see in a reasonable presentation. The FilmArt Blu-ray released in Germany contains an adequate presentation of the film, in the film’s original ‘scope aspect ratio and seeming to be uncut (running for 86:59 mins), though one that seems to be sourced from a print in rough shape. (The disc includes both a ‘restored’ presentation in which some of the damage of the source has been remedied, and an ‘unrestored’ presentation which exhibits plentiful damage – burn marks, scratches, etc.) The drop into the toe is sharp, with shadow detail often seeming ‘crushed’, and sometimes the rise into the shoulder is equally bold: skintones sometimes bloom.
The disc offers Italian, German and English audio options (all lossless), with optional German subtitles only.
2020-2