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Orgasmo
Italian theatrical release poster
Directed byUmberto Lenzi[1]
Written by
  • Umberto Lenzi
  • Ugo Moretti
  • Marie Claire Sollenville[1]
Story byUmberto Lenzi
Produced bySalvatore Alabiso[1]
Starring
CinematographyGuglielmo Mancori[2]
Edited byEnzo Alabiso[1]
Music byPiero Umiliani[1][2]
Production
companies
  • Tritone Filmindustria
  • Société Nouvelle de Cinématographie[1]
Distributed by
Release dates
  • 7 February 1969 (1969-02-07) (Italy)
  • 18 July 1972 (1972-07-18) (France)[3]
Running time
90 minutes[2]
Countries
  • Italy
  • France[2]
LanguageItalian

Orgasmo (Italian for "orgasm") is a 1969 giallo film co-written and directed by Umberto Lenzi and starring Carroll Baker, Lou Castel, and Colette Descombes. It follows a wealthy American socialite who finds herself preyed upon by two nefarious young siblings who indulge her with sex, drugs, and alcohol while she vacations at an Italian villa. This film helped launch the second phase of Baker's career, during which she became a regular star in Italian productions.[4]

After its Italian premiere in February 1969, Orgasmo was released in the United States under the alternative title Paranoia later that same year. It was one of the first films to carry an X rating in the United States under the newly established Motion Picture Association film rating system, and this fact was sensationalized for its American promotional materials.

The film marked the first of four collaborations between Lenzi and actress Carroll Baker, who also starred in So Sweet... So Perverse (1969), A Quiet Place to Kill (1970) and Il coltello di ghiaccio (1972).

Plot

[edit]

American socialite Catherine West arrives in Italy from New York to a flurry of journalists following the car accident death of her husband Robert, a Texas oil baron who left her his $200 million estate. She retreats to an Italian villa rented by her austere lawyer, Brian Sanders. Catherine soon meets Peter Donovan, a young American man from Boston whose car has broken down nearby. Peter manages to manipulate his way into staying with Catherine, who is initially icy toward his romantic advances. However, Peter swiftly manages to seduce her, and the two engage in a passionate affair.

Catherine travels to London to visit with her late husband's relatives to discuss property she is bequeathing to them, but finds them to be abrasive and angry with her, believing she married Robert solely for his money. Late one night, Catherine senses someone has broken into the house, but the housekeeper Teresa attributes Catherine's paranoia to her abuse of alcohol and prescription drugs. When Catherine invites Peter to stay with her for a week, his sister Eva arrives at the villa unexpectedly. Catherine enjoys the siblings' companionship and youthful vivaciousness.

During a dinner meeting with Brian, Catherine admits she is suffering from liver failure due to her alcoholism. Upon returning to the villa, Catherine finds Peter and Eva in bed together nude. She presumes the two have engaged in incest, but Peter informs Catherine that he and Eva are not blood-related, and are in fact only stepsiblings. Eva confesses that she is sexually attracted to Catherine, and the three soon engage in a series of nightly debaucherous threesomes fueled by Peter and Eva's indulging of Catherine in liquor and stimulant drugs.

One night, Catherine, disgusted with herself and in a drunken rage, orders Peter and Eva to leave the villa. They oblige, but soon return, and begin physically abusing Catherine and taking control of the house, subduing Catherine by forcing her to drink. Finding herself held hostage by the siblings, Catherine becomes increasingly desperate to escape Peter and Eva. She manages to produce a gun, with which she shoots Peter. Catherine loses consciousness due to a sedative fed to her by Eva, and awakens to find that the gun was loaded with blanks by the siblings, and that Peter was unharmed. The two bind and gag Catherine, tying her to a bed. When Brian visits the villa, Peter tells him that Catherine has descended into a depression, and has threatened to commit suicide.

Locked in her upstairs bedroom, Catherine is further tormented by the siblings, who, on one occasion serve her a live toad for dinner. The two later bring her whiskey and a large number of barbiturates, along with a falsified letter stating Brian has died in a plane crash, with the hope that Catherine will voluntarily kill herself by overdosing. Catherine manages to escape her bedroom and flees to the attic, accessing the roof of the villa. Brian arrives, and witnesses Catherine collapse over the edge of the roof, falling to the veranda below and fracturing her skull. Brian picks the injured Catherine up in his arms. The two briefly make eye contact before he ruthlessly throws her over the veranda onto the driveway below, killing her. Brian, who has conspired with the siblings to steal Catherine's fortune, produces two forged suicide notes and orders Peter to alert authorities to Catherine's staged suicide. It is revealed that Brian is in fact Peter and Eva's uncle, and had Catherine unknowingly sign documents that bequeathed her estate to the trio.

After the reading of Catherine's last will and testament, Brian is met by a detective who notifies him that New York police discovered that the brakes in Robert's car were tampered with, causing his fatal road accident. Brian momentarily fears their plot has been discovered, until the detective states that police believe Catherine caused the accident, as Robert had planned to divorce her. Based on this conclusion, Catherine is not legally entitled to her husband's estate, which Brian is informed will instead go to his aunt. Meanwhile, as Peter and Eva gleefully drive through the city in their convertible, they are killed in a head-on collision with a truck.

Cast

[edit]

Analysis

[edit]

Film scholar Robert Curti considers Orgasmo a variation on Pier Paolo Pasolini's Teorema (1968), another film in which "seductive strangers [disrupt] the bourgeois status quo and its morals".[5] Curti also compares the film to the novella Carmilla (1872), about a young woman seduced by a lesbian vampire.[5]

Release

[edit]
In the United States, the film's promotional materials sensationalized its X rating.

Orgasmo premiered in Italy on 7 February 1969. The Italian version of Orgasmo has a different ending than the American version.[4] In the United States, Orgasmo opened under the Paranoia title on 13 August the same year.[6] The film was among the first to receive an X rating in the United States under the newly-established Motion Picture Association film rating system,[7] and its X rating was sensationalized in advertising materials.[6]

The film's title has led to confusion due to its re-titling in the United States as Paranoia.[8] Umberto Lenzi's next film (which also starred Carroll Baker) was released as Paranoia in Italy in 1970, but was retitled A Quiet Place to Kill for its American release.[8]

Like other early giallo films, Orgasmo was not popular among Italian film audiences upon its initial theatrical release, as the genre never gained popularity in its home country until the release of Dario Argento's The Bird with the Crystal Plumage (1970) and The Cat o' Nine Tails (1971), but it was a major hit outside of Italy.[9] Orgasmo was released in France as Une folle envie d'aimer (lit. 'A mad desire to love').[4]

Baker commented in 1971 on the success of her Italian films:

My pictures in Italy have grossed so much money that I don't have to search the rest of the world for work. They build movies around me and the percentages are sensational... Orgasmo, which was called Paranoia in America, grossed $8 million there alone![10]

Critical reception

[edit]

From contemporary reviews, the Monthly Film Bulletin wrote that "this high gloss melodrama rings enough changes on an old theme to keep one watching right up to the grisly retribution of the finale, even if the denouement is a trifle rushed".[11] The review concluded that "it might have been even more enjoyable - on its own low camp level - if Umberto Lenzi had not been so determined to match style to subject, with the camera deliriously sliding in and out of focus as the tormented lady totters down the stairs and every scene shot from behind a bit of the furniture".[11] Roger Ebert gave the film a negative review, stating that "only the haunting memory of Succubus prevents me from naming [Orgasmo] as the worst movie of the year".[12]

From retrospective reviews, the online film database AllMovie gave Orgasmo one star, referring to it as less interesting than A Quiet Place to Kill and stating that "there are some interesting moments, but this is clearly the lesser of the two films".[13] Troy Howarth reviewed Orgasmo favorably in So Deadly, So Perverse: 50 Years of Italian Giallo Films, writing that "the film is a classic example of the so-called sexy giallo, with plenty of cool eroticism and a pleasantly 'mod' aesthetic". Howarth added that director Lenzi "displays a sure and steady hand in gradually unveiling the various plot twists".[14] In Sleazoid Express, Bill Landis wrote, "The photography seems filmed through a shot glass. The use of red lighting and off-kilter shots, while simple and inexpensive, are extremely effective in reproducing the state of being slowly overdosed on liquor and prescription pills." Landis continued, "Paranoia established director Umberto Lenzi as the king of giallos, an effective melodramatist who delivered the goods. Lenzi was sleazier and more bluntly sexual than more revered figures like Mario Bava and Dario Argento".[15]

  • Orgasmo (1969) features a female protagonist (played by Carroll Baker) who becomes embroiled in a psychological, sexual conflict.
    Orgasmo (1969) features a female protagonist (played by Carroll Baker) who becomes embroiled in a psychological, sexual conflict.
  • Colette Descombes in a psychedelic scene from Orgasmo (1969).
    Colette Descombes in a psychedelic scene from Orgasmo (1969).

Home media

[edit]

The X-rated U.S. cut of Paranoia was released on VHS in 1985, in pan and scan 4:3 aspect ratio, by Spotlite Video, a division of Republic Pictures Corporation.[16]

The film was released on Blu-ray in a box set by Severin Films in June 2020, featuring all four of Lenzi's film collaborations with actress Carroll Baker (including So Sweet... So Perverse, A Quiet Place to Kill, and Il coltello di ghiaccio). The box set includes both versions of Orgasmo.[17]

See also

[edit]

Notes

[edit]

References

[edit]

Sources

[edit]
  • Brizio-Skov, Flavia (2011). Popular Italian Cinema: Culture and Politics in a Postwar Society. I.B.Tauris. ISBN 978-1-848-85572-4.
  • Curti, Robert (2022). Italian Giallo in Film and Television: A Critical History. Jefferson, North Carolina: McFarland. ISBN 978-1-476-68248-8.
  • Howarth, Troy (2011). So Deadly, So Perverse: 50 Years of Italian Giallo Films (Volume 1 1963-1973). Midnight Marquee Press. ISBN 978-1-936-16850-7.
  • Landis, Bill; Clifford, Michelle (2002). Sleazoid Express: A Mind-Twisting Tour Through the Grindhouse Cinema of Times Square. Touchstone. ISBN 978-0-743-21583-1.
  • Luther-Smith, Adrian (1999). Blood and Black Lace: The Definitive Guide to Italian Sex and Horror Movies. Stray Cat Publishing Ltd. ISBN 0-9533261-1-X.
  • Muller, Eddie; Faris, Daniel (1996). Grindhouse: The Forbidden World of "Adults Only" Cinema. New York: St. Martin's Griffin. ISBN 978-0-312-14609-2.
  • Shipka, Danny (2011). Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960–1980 (illustrated ed.). McFarland & Company. ISBN 978-0-786-44888-3.
  • Lenzi, Umberto (1985). Paranoia. Spotlite Video.
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Orgasmo

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from Grokipedia
Orgasmo is a Italian-French film co-written and directed by , starring as Kathryn West, a wealthy American who relocates to her late husband's secluded villa in following his death. There, she encounters the charismatic Peter Donovan (Lou Castel) and his alluring stepsister Eva (Colette Descombes), who seduce her into a hedonistic involving drugs, alcohol, and encounters, only for the situation to escalate into manipulation, isolation, and threats to her life. The film explores themes of , , and psychological descent, with the Italian version featuring a distinct ending from its international release. Released internationally as , Orgasmo is regarded as an early entry in the genre, characterized by its blend of mystery, suspense, and stylized violence, which would become hallmarks of Italian thrillers in the 1970s. It marked a pivotal shift in Carroll Baker's career, transitioning her from Hollywood stardom to a prolific run in Italian exploitation cinema, where she became a muse for directors like Lenzi. Produced by Société Nouvelle de Cinématographie, , and Cinematografica, the 91-minute film was shot in and , contributing to the era's wave of boundary-pushing European cinema that often earned restrictive ratings upon export, including one of the first X ratings in the United States. Lenzi, known for his work across genres from spaghetti westerns to , employed Orgasmo to delve into the giallo's emerging tropes of unreliable protagonists and voyeuristic tension, scored by Piero Umiliani's atmospheric jazz-infused that underscores the film's sleazy and surreal tone. Despite its cult status today, the movie premiered on February 7, 1969, in , reflecting the post-war Italian film industry's fascination with psychological turmoil and sexual liberation amid social changes.

Production

Development and writing

The development of Orgasmo represented director Umberto Lenzi's inaugural foray into the giallo genre, drawing from the emerging Italian thriller trends exemplified by Mario Bava's Blood and Black Lace (1964), which had popularized stylized suspense and psychological intrigue. Lenzi conceived the project as an original story, aiming to explore psychosis, eroticism, and cryptic elements within a corrupted world, thereby blending sensual undertones with thriller tension to distinguish it from outright exploitation fare. This marked the beginning of Lenzi's fruitful collaboration with American actress Carroll Baker, who had relocated to Italy in 1967 following a contractual dispute with Paramount Pictures that effectively sidelined her Hollywood career. The screenplay was co-written by Lenzi alongside Ugo Moretti and Marie Claire Solleville, initially titled before being retitled Orgasmo to avoid negative connotations associated with the Italian word "noia" (). The writing process centered on core themes of , disputes, and mounting psychological strain, crafting a narrative that prioritized character-driven suspense over elaborate murder sequences, setting it apart from later stylings by directors like . Production was structured as a Franco-Italian co-production to leverage cross-border funding and distribution advantages, involving Italian company Tritone Cinematografica and French firm Société Nouvelle de Cinématographie (SNC), with additional support from . Salvatore Alabiso oversaw the venture, aligning it with the modest budgetary norms of mid-1960s Italian to facilitate a swift timeline culminating in the film's Italian on February 7, 1969.

Filming and technical aspects

Principal photography for Orgasmo took place primarily in , with key interior and exterior scenes shot at a located on Via della Camilluccia in the outskirts of , serving as the main residence for the protagonist Kathryn West. Additional exteriors were filmed in the Italian countryside to capture the isolated, luxurious setting central to the story, while brief establishing shots were captured in , , including Carlos Place in . The production, a co-production between Italian companies Tritone Cinematografica and and the French Société Nouvelle de Cinématographie, utilized these locations to blend urban and rural atmospheres, though no filming occurred in despite the international collaboration. Cinematographer Guglielmo Mancori employed , a widescreen format that allowed for efficient 2-perforation shooting on 35mm film, to create contrasting visual styles throughout the production. Stately compositions highlighted the opulent environments of and the countryside, while more intimate, subjective sequences used kaleidoscopic filters, point-of-view shots, and frequent close-ups to evoke psychological unease and erotic intensity, aligning with the script's emphasis on seduction and . Mancori's use of vibrant colors and elegant pans further amplified the film's sensual undertones without relying on explicit visuals. Editing was handled by Eugenio Alabiso (credited as Enzo Alabiso in some versions), who focused on rhythmic pacing to heighten in the thriller elements. The Italian cut runs 97 minutes, but the U.S. release was trimmed by approximately six minutes by additional editors Stanley Frazen and Robert S. Eisen to comply with distribution requirements, resulting in a 91-minute version; notably, the American X-rated edition incorporated extra nude footage not present in the original. Alabiso's techniques included strategic quick cuts during tense seduction and confrontation scenes, contributing to the film's building dread within its modest runtime constraints. The original score was composed by , featuring a jazz-influenced with lounge elements that underscored the film's erotic and psychological themes. Tracks such as "Orgasmo - Seq. 1 (easy-living)" and "Orgasmo - M18 (shake)" provided sensual motifs for intimate sequences, including the , blending rhythms and orchestral swells to mirror the characters' descent into obsession. Umiliani's music, released on vinyl and later reissued, marked the first of three collaborations with Lenzi and , emphasizing groovy, atmospheric cues over bombastic horror scoring. Production faced challenges typical of mid-1960s Italian , including variations in cuts across markets due to and rating demands—the U.S. version earned an primarily for Carroll Baker's nude scenes, which were integral to the erotic narrative but required careful handling during . Low-budget limitations influenced practical approaches to the film's violence, relying on straightforward effects rather than elaborate setups, though the overall production benefited from the lavish location to convey wealth without extensive set construction.

Plot

Following the death of her wealthy husband in a car , American widow Kathryn West relocates to a secluded in the Italian countryside to escape public scandals and pursue in . She disconnects the and instructs the servants to maintain absolute quiet. Her isolation is interrupted by the arrival of Peter Donovan, a charismatic young drifter whose has broken down nearby. Attracted to him, Kathryn allows Peter to repair his vehicle in the villa's garage, and they soon begin a passionate . After Kathryn returns from a short trip to , she invites Peter to stay with her indefinitely. Peter introduces his stepsister Eva, and the trio quickly descends into a hedonistic routine involving alcohol, drugs, and sexual encounters, including . Kathryn begins to experience increasing , noticing that items in the have been mysteriously moved during the night. The siblings dismiss the household staff, further isolating her, and escalate their manipulation by drugging her drinks and taking compromising photographs for . Peter and Eva abuse and threaten Kathryn, aiming to seize control of her fortune. The film's climax reveals the siblings' true intentions in a nihilistic conclusion with major twists. The Italian version (running 97 minutes) features a distinct ending from the international release (91 minutes), though both lead to a fatalistic resolution.

Cast

ActorRole
Kathryn West
Peter Donovan
Colette DescombesEva
Tino CarraroBrian Sanders
Lilla BrignoneTeresa

Release

Distribution

Orgasmo premiered in on February 7, 1969. The was released as the dubbed on August 20, 1969, marking it as one of the first Italian productions to receive an under the newly implemented MPAA system. In , it appeared under the title Une folle envie d'aimer on July 18, 1972. Commonwealth United Entertainment handled U.S. distribution, promoting the film as an to leverage Carroll Baker's established stardom. The original Italian cut runs 97 minutes, though censored versions for international markets reduced the runtime, such as the 91-minute U.S. edition. Its Italian-French co-production supported broader European distribution.

Critical reception

Upon its release in , Orgasmo elicited mixed responses from critics, with praise for its stylistic elements tempered by criticisms of its narrative coherence. awarded the film 1.5 out of 4 stars in his review, describing it as "one of the worst movies of " and comparing its improbable plotting to a mere "baggage tag," while labeling it exploitative in its . He noted that Carroll Baker's , though intentionally overwrought, contributed to the film's overall lack of substance, likening her role to a "nice wholesome vulgarity" that failed to elevate the material. In the United States, where the film was released as Paranoia and became one of the earliest recipients of the newly introduced X rating from the Motion Picture Association of America, it sparked controversy over its explicit nudity and erotic content. Promotional materials heavily emphasized the rating to attract audiences, highlighting the film's appeal as a psychosexual thriller despite critiques of its weak plotting and reliance on titillation over depth. Retrospective assessments within giallo enthusiast circles have been more favorable, appreciating the film's contributions to the genre's early suspense techniques. Tim Lucas, in his analysis of the 2020 Severin Films restoration, commended director Umberto Lenzi and cinematographer Guglielmo Mancori for infusing the proceedings with "extra oomph" through dynamic gear shifts, tight close-ups of menacing eyes, and a constant flow of vivid images that build tension like a "dance distilled from glamorous women, glittering pools, elegant panning, shocks, [and] surprises." Opinions on Baker's lead performance remain divided, with some viewing it as committed and central to the film's allure, while others see it as excessively theatrical. The score by Piero Umiliani has drawn consistent acclaim in later reviews for its rousing, atmospheric jazz-inflected grooves that enhance the erotic and suspenseful moods. Aggregate user ratings reflect this : the film holds a 6.0 out of 10 on based on approximately 2,000 votes. Modern critiques often highlight dated elements of in its portrayal of female vulnerability and sexual dynamics, though these are contextualized within the era's conventions.

Themes and analysis

Orgasmo delves into themes of isolation and psychological vulnerability, portraying the protagonist's retreat to a secluded as a catalyst for emotional unraveling amid external influences. The film examines and as coping mechanisms for , with the widow's immersion in drugs and sexual encounters highlighting a desperate search for escape from personal loss. Central to the narrative is manipulation and , where interpersonal dynamics erode trust and , reflecting broader anxieties about intrusion and control in intimate spaces. Class and generational divides are underscored through the interactions between the affluent older protagonist and younger interlopers, suggesting on , exploitation, and cultural clashes in post-war . Stylistically, the film anticipates giallo conventions with its voyeuristic tension and unreliable perspectives, enhanced by psychedelic visuals and Piero Umiliani's jazz-infused score that amplifies the surreal, claustrophobic atmosphere. Director employs restrained eroticism and violence to prioritize psychological depth over sensationalism, distinguishing it from later exploitation entries while marking Carroll Baker's evolution into complex, flawed characters. The Italian version's further intensifies themes of ambiguity and descent, contributing to its cult appeal in genre studies.

Home media and legacy

Orgasmo has received several home media releases, particularly in high-definition formats that have contributed to its renewed appreciation among giallo enthusiasts. In 2020, included the film in The Complete Lenzi/Baker Giallo Collection, a four-disc Blu-ray set featuring both the (97 minutes) and the U.S. X-rated cut (91 minutes), along with audio commentaries, interviews, and a CD. In August 2024, 88 Films released a limited-edition Blu-ray in the UK (Region B), offering the same two versions of the film with original English and Italian audio tracks. The edition includes audio commentaries by film critics Troy Howarth, Nathaniel Thompson, Eugenio Ercolani, , and Stephen Thrower; interviews with editor Eugenio Alabiso and director ; a visual titled "Baker's " by Mike Foster; and trailers. It features a reversible sleeve artwork and is presented in with 2.0 mono. The film holds a lasting legacy as one of the earliest entries in the genre, marking Umberto Lenzi's initial foray into psychological thrillers with elements of and that influenced later Italian cinema. Despite mixed contemporary reviews, Orgasmo has achieved cult status for its blend of voyeuristic tension, unreliable narration, and Carroll Baker's iconic performance, solidifying her role in European exploitation films. Modern restorations and releases have highlighted its atmospheric score by and its place in the post-war Italian film industry's exploration of sexual liberation and paranoia.

References

  1. https://www.filmexport.net/portfolio/orgasmo-a-film-by-umberto-lenzi/
  2. https://awfj.org/blog/2019/07/11/perversion-story-review-by-alexandra-heller-nicholas/
  3. http://www.dvdbeaver.com/film10/blu-ray_review_146/orgasmo_blu-ray.htm
  4. https://fourfliesrecords.bandcamp.com/album/orgasmo
  5. http://cultfilmsenkutfilms.com/interviews/interview-umberto-lenzi
  6. https://www.forbes.com/sites/kristenlopez/2019/12/09/carroll-baker-on-not-being-hollywoods-baby-doll-63-years-later/
  7. https://www.davinotti.com/forum/location-verificate/orgasmo/50000768
  8. http://www.dvdcompare.net/review.php?rid=8061
  9. https://www.imdb.com/title/tt0063413/locations
  10. https://www.discogs.com/release/30740113-Piero-Umiliani-Orgasmo
  11. http://thebloodypitofhorror.blogspot.com/2021/05/orgasmo-1969.html
  12. https://goodefficientbutchery.blogspot.com/2020/07/retro-review-complete-lenzibaker-giallo.html
  13. https://www.imdb.com/title/tt0063413/fullcredits/
  14. https://www.unifrance.org/film/44984/une-folle-envie-d-aimer
  15. https://www.dvdcompare.net/review.php?rid=8061
  16. https://trailersfromhell.com/paranoia/
  17. https://www.imdb.com/title/tt0063413/alternateversions/
  18. https://www.imdb.com/title/tt0063413/companycredits/
  19. https://www.rogerebert.com/reviews/paranoia-1969
  20. https://www.imdb.com/title/tt0063413/trivia/
  21. https://videowatchdogblog.blogspot.com/2020/09/severins-orgasmoparanoia-reviewed.html
  22. https://www.rockshockpop.com/articles/movies-aa/382647-the-complete-lenzi-baker-giallo-collection-severin-films-blu-ray-review
  23. https://www.imdb.com/title/tt0063413/
  24. https://colinedwards.medium.com/orgasmo-or-easily-seduced-5fda3cae6b75
  25. http://atthemansionofmadness.blogspot.com/2012/02/orgasmo-1969.html
  26. https://www.blu-ray.com/movies/Orgasmo-Blu-ray/268659/
  27. https://www.blu-ray.com/news/?id=34885
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