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So Sweet... So Perverse
So Sweet... So Perverse
So Sweet... So Perverse
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So Sweet...So Perverse
Italian theatrical release poster
Directed byUmberto Lenzi
Screenplay byErnesto Gastaldi[2]
Produced by
Starring
CinematographyGuglielmo Mancori[2]
Edited byEugenio Alabiso[2]
Music byRiz Ortolani
Production
companies
  • Zenith Cinematografica
  • Flora Film
  • Tritone Filmindustria Roma S.r.l.
  • CEDIC
  • Rapid Film GmbH[1]
Distributed byVariety Distribution
Release dates
  • 31 October 1969 (1969-10-31) (Italy)
  • 26 February 1971 (1971-02-26) (France)
Running time
92 minutes[1]
Countries
  • Italy
  • France
  • West Germany[1]
LanguageItalian

So Sweet... So Perverse (Italian: Così dolce... così perversa) is a 1969 giallo film directed by Umberto Lenzi and written by Ernesto Gastaldi, starring Carroll Baker and Jean-Louis Trintignant. Set in Paris, it tells the story of a wife who plots to get rid of a rich and errant husband but is herself the victim of her accomplices.

Plot

[edit]

Jean, a wealthy industrialist in Paris, has married Danielle, but she now refuses him. In revenge, he lets himself be seduced by the host's wife at a party. Closer to home, an attractive woman moves into the flat above them, and they sometimes hear an abusive lover rebuke and beat her. Jean combines chivalry and desire by offering to protect her, and soon they are lovers. She is Nicole, and her violent ex is Klaus. She warns him that Klaus will seek to kill him, which happens during a fight. His charred body shows up in a burnt-out car.

Nicole, who in fact is Danielle's lover and accomplice, announces that Jean had given her his share in his company. Danielle begins to be haunted by guilt and, while she is on the phone with Nicole, Klaus creeps in and shoots her dead. In the absence of any better explanation, the police inspector reluctantly accepts suicide. Now rich and no longer at risk of exposure by Danielle, who had hired them, Nicole and Klaus get on a plane for Brazil. Two seats behind them is the police inspector.

Cast

[edit]

Production

[edit]

Following the release of Orgasmo, director Umberto Lenzi and actress Carroll Baker worked again on another giallo film.[2] The script by Ernesto Gastaldi borrows plot elements from Henri-Georges Clouzot's film Les Diaboliques (1955) and like many gialli of the era, revels in its portrayal of badly-behaved, wealthy protagonists.[2]

Riz Ortolani provided the music score, which includes a ballad called Why? sung by J. Vincent Edward. It would be later re-used in Lenzi's film Seven Bloodstained Orchids.[3]

Release

[edit]

So Sweet...So Perverse was released in Italy on October 31, 1969 and in France on February 26, 1971.[4][5]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

So Sweet... So Perverse

View on Grokipedia
from Grokipedia
So Sweet... So Perverse (Italian: Così dolce... così perversa) is a Italian giallo directed by and written by Ernesto Gastaldi, Massimo D'Avak, and . Starring as the affluent industrialist Jean Reynaud, as the enigmatic neighbor Nicole, as the neglected wife , and Horst Frank as her abusive boyfriend , the film explores themes of infidelity, manipulation, and psychological suspense. The plot centers on Jean, a bored Parisian businessman trapped in an unhappy marriage, who intervenes when he hears Nicole being assaulted by in the neighboring apartment. This act of heroism sparks a passionate between Jean and Nicole, prompting him to leave his wife and devise a scheme to eliminate permanently. As their relationship deepens, however, Jean uncovers layers of deception that blur the lines between victim and perpetrator, culminating in a series of twists reminiscent of classic psychological thrillers like Diabolique. Produced by a collaboration of Italian companies including Zenith Cinematografica, Flora Film, and Rapid Film, the film was shot in color over 92 minutes, with cinematography by Guglielmo Mancori and a score by that enhances its tense atmosphere. It marks the second installment in a trilogy of collaborations between Lenzi and Baker, following (also known as ) earlier in 1969 and preceding A Quiet Place to Kill in 1970. These films helped establish Baker as a prominent figure in Italian genre cinema during the late . Upon release, So Sweet... So Perverse received mixed reviews from audiences, earning a 6.0/10 rating on based on 1,470 votes and a 31% audience score on (as of November 2025). Critics and genre enthusiasts have praised its suspenseful narrative and strong performances, particularly Trintignant's portrayal of moral ambiguity, though some note its reliance on familiar tropes from French thrillers. The film has since gained a among fans of cinema for its stylish direction and exploration of perverse desires within bourgeois society.

Overview

Synopsis

Jean Reynaud, a wealthy Parisian industrialist, endures an unhappy to his cold and distant , Danielle, while residing in a luxurious apartment building in the heart of . Bored with his routine life and industrial business interests, Jean's attention turns to his alluring neighbor, Nicole Perrier, after hearing her cries during an altercation with her violent ex-lover, . Intervening to protect her, Jean embarks on a passionate with Nicole, who confides her fears of Klaus's obsessive pursuit, drawing Jean deeper into a web of deception and desire. As the romance blossoms amid the opulent settings of Paris's and Jean's factory outskirts, Jean and Nicole appear to devise a plan to eliminate the threat posed by . However, it is revealed that this was part of a larger conspiracy: Nicole and Danielle, secret lovers, conspired with to murder Jean for his wealth. kills Jean during a confrontation and stages the death as a accident by burning his body in a . Nicole then produces documents claiming Jean transferred his substantial share in the family company to her before his death. Klaus subsequently shoots Danielle while she is on the phone with Nicole, staging her death as a . A determined police inspector investigates the suspicious deaths, unraveling the connections. Ultimately, Nicole and Klaus flee Paris to , but the inspector follows them on the same plane, leaving their escape uncertain.

Genre Classification

So Sweet... So Perverse (1969) is widely regarded as a proto- film, a precursor to the fully developed giallo subgenre in Italian cinema, characterized by its elements, mystery intrigue, and erotic undertones typical of late-1960s productions. This classification places it among early entries that blended crime narrative with sensual tension, predating the more codified giallo style popularized by directors like in the 1970s. The film's structure and themes show a clear influence from Henri-Georges Clouzot's Les Diaboliques (1955), particularly in its use of a and multiple twists that build and among characters. Ernesto Gastaldi has acknowledged this debt, adapting the French film's psychological intensity to an Italian context with heightened . Stylistically, the film employs suspenseful pacing through extended takes and static shots of tension, complemented by the polished of Guglielmo Mancori, which features glossy visuals, colored lighting gels, and lush Parisian settings to merge with criminal undertones. These elements create a languid atmosphere, enhanced by trippy flashbacks and a swinging score, emphasizing mood over rapid action. In distinction from later gialli, which often incorporated and slasher-style killings in the 1970s, So Sweet... So Perverse adopts a more restrained approach to physical harm, focusing instead on psychological manipulation and emotional turmoil to drive the narrative. This emphasis on mental aligns it more closely with its Les Diaboliques inspiration than with the bloodier evolutions of the genre.

Production

Development and Writing

The screenplay for So Sweet... So Perverse was written by Ernesto Gastaldi based on a story by producer . Gastaldi, a prolific Italian known for his contributions to the genre, drew inspiration from Henri-Georges Clouzot's 1955 Les Diaboliques to craft a that adapted its core elements of , , and twisted relationships into an framework. This adaptation incorporated sensual motifs, including inheritance disputes and subtle undertones, to align with the emerging emphasis on psychological complexity and sexual tension in European cinema. Directed by , the film marked his second collaboration with actress , following their earlier work on earlier in 1969. This partnership built upon Baker's established typecasting in sensual, femme-fatale roles within Italian thrillers, allowing Lenzi to explore heightened eroticism while maintaining suspenseful plotting. Lenzi's vision emphasized the film's jet-set atmosphere and visual style, further distinguishing it from more overt horror elements in the tradition. So Sweet... So Perverse was conceived in amid the rising popularity of erotic thrillers across , a trend fueled by the success of films like and the broader evolution of the giallo subgenre toward psycho-sexual narratives. The project moved quickly into pre-production, reflecting the fast-paced Italian film industry of the era. It was structured as an Italian-French-West German co-production involving Zenith Cinematografica, Flora Film, Tritone Filmindustria Roma S.r.l., CEDIC, and Rapid Film , which facilitated international distribution and financing for the multinational cast and settings.

Filming Locations

The film was primarily shot on location in , , capturing authentic urban environments including apartments, streets, and landmarks like the to convey a sophisticated, cosmopolitan vibe central to the story's intrigue. A seaside sequence was filmed in Punta Ala, , , , , adding contrast to the Parisian settings. Interior scenes, particularly those building suspense, were staged in Italian studios to allow controlled environments for dramatic and set . Cinematographer Guglielmo Mancori utilized to produce vivid yet shadowy visuals, employing moody and intimate close-ups to amplify psychological tension and erotic undertones throughout the production. Editor Eugenio Alabiso crafted the film's through precise cutting techniques, including quick transitions and deliberate pacing variations that heightened in key sequences without disrupting the narrative flow. As an Italy-France-West Germany co-production, the shoot encountered logistical hurdles typical of multinational efforts, such as coordinating across borders, navigating language differences among the international cast, and aligning schedules around high-profile actors like .

Music Composition

The score for So Sweet... So Perverse was composed by , a prolific Italian film composer known for his work in over 200 films, blending orchestral cues with jazz-influenced erotic themes to heighten the psychological tension throughout the narrative. Ortolani's arrangement features lush string sections and rhythmic percussion that evoke the film's themes of seduction and danger, creating an atmospheric backdrop that underscores the characters' emotional manipulations. A standout element is the "Why?", performed by J. Vincent Edwards with lyrics by Norman Newell, which serves as the main title theme and recurs in romantic and climactic scenes to emphasize emotional manipulation and vulnerability. The track's smooth, melancholic vocals contrast with the score's more intense moments, providing a haunting melody that lingers over key interactions. variations of "Why?" appear multiple times, adapting to the film's shifting tones from intimacy to unease. The music integrates deeply with the , using dissonant strings during setups for twists to foreshadow impending danger and build without overt signaling. Tracks like "Shadows in the Mind" and "Deeps of the Mind" employ moody, minimalist to mirror the protagonist's psychological descent, enhancing the overall sense of deception. Production of the score occurred in 1969, coinciding with the film's release, and was tailored for international audiences through multilingual vocal tracks to accommodate co-productions in , , and . Recorded on Sermi Records master tapes, the sessions captured Ortolani's signature fusion of classical and contemporary elements, later remastered for modern releases.

Cast and Crew

Lead Actors

The principal performers in So Sweet... So Perverse include , , , and Horst Frank, each bringing distinct backgrounds to their roles in this giallo thriller. portrays Nicole Perrier, the enigmatic neighbor who becomes Jean's lover and draws him into a web of seduction and danger, contributing to the film's sensual and perverse dynamics through her character's manipulative allure. After achieving fame in Hollywood with roles in films like (1956), transitioned to Italian cinema in the late , embracing more mature and erotic parts in and thriller genres, including this film as her second collaboration with director . Jean-Louis Trintignant plays Jean Reynaud, the vulnerable industrialist trapped in a loveless marriage, whose emotional fragility and growing obsession with Nicole highlight the film's exploration of jealousy and betrayal. Trintignant, a prominent figure in French New Wave cinema through films such as And God Created Woman (1956) and A Man and a Woman (1966), infused the role with nuanced emotional depth, leveraging his experience in introspective dramas to convey Jean's internal conflict and susceptibility. Erika Blanc embodies Danielle Reynaud, Jean's seductive and manipulative wife, whose scheming possessiveness and bisexual attractions drive the plot's twists and amplify the story's themes of perversion and retribution. As an established Italian actress known for her work in horror and giallo films like Kill, Baby, Kill (1966), Blanc's performance adds intensity to the character's domineering sensuality, marking a key contribution to the genre's evolving portrayal of female antagonists. Horst Frank plays Klaus, Nicole's abusive and volatile boyfriend, whose violent presence initiates the central conflict and underscores the film's themes of danger and deception. A German actor known for roles in international thrillers and Westerns, such as The Young Lions (1958), Frank brings a menacing physicality to the antagonist.

Key Crew Members

directed So Sweet... So Perverse, bringing his experience from earlier genres to the film's suspenseful narrative. Known for helming popular peplum films in the , Lenzi later pioneered extreme crime thrillers and contributed to the development of precursors through works like this one. Ernesto Gastaldi penned the screenplay, drawing on his extensive background in Italian genre cinema. As one of the first screenwriters to specialize in thrillers, Gastaldi authored over 100 films, including key entries that helped shape the genre's twisted plotting conventions. Guglielmo Mancori served as cinematographer, employing vibrant color palettes and strategic shadow play to heighten the film's atmospheric tension. His techniques, seen in similar thrillers like (also directed by Lenzi), involved elegant pans and close-ups to blend allure with unease, enhancing the visual intrigue of the story's perverse elements. Eugenio Alabiso handled the editing, ensuring tight pacing that built toward the plot's twist reveals. With prior credits on landmark Italian genre films such as Sergio Leone's and various , Alabiso's rhythmic cuts contributed to the film's suspenseful flow. The production was overseen by and Mino Loy, who coordinated the Italian-French co-production aspects. Martino, a frequent collaborator in projects, also received a story credit, while Loy managed logistical elements for the international release.

Release

Initial Release

So Sweet... So Perverse premiered in on October 31, 1969. The film received a theatrical release in on February 26, 1971. As a co-production between Italian, French, and West German companies, it saw varying release schedules across , with screenings in on September 30, 1970, and on December 4, 1970. Distribution was managed through international partnerships, including Zenith Cinematografica, Flora Film, Tritone Filmindustria Roma S.r.l., CEDIC, and Rapid Film GmbH. The film was marketed as an erotic thriller, leveraging the star power of Carroll Baker, whose provocative roles in Italian cinema had already drawn significant attention following her earlier successes like Baby Doll. The movie achieved modest commercial success in amid the rising popularity of the genre. However, it received limited initial exposure , with no major theatrical rollout during its early years. The standard running time is 92 minutes, though versions varied slightly due to minor censorship edits in different countries.

Home Media and Restorations

The film saw its initial release on in the 1980s, making it accessible to enthusiasts during the early era of distribution. In 2020, Severin Films issued a significant restoration as part of the 6-disc Blu-ray box set The Complete Lenzi/Baker Giallo Collection, featuring a new 2K scan from the original camera negative, which enhanced color grading, contrast, and overall clarity while preserving the film's original 2.35:1 aspect ratio. The edition includes Italian and English mono DTS audio tracks, English subtitles, and special features such as an audio commentary by film critic Kat Ellinger, interviews with writer Ernesto Gastaldi and director Umberto Lenzi, trailers, and an alternate credit sequence. This release, limited in initial production, highlighted preservation efforts for Lenzi's giallo works and was praised for its technical upgrades that brought the 1969 production closer to its intended visual style. Subsequent collector's editions followed, including a 2021 limited Blu-ray from 88 Films in the UK, restricted to 2,000 copies with a rigid and a 40-page booklet by film historian Chloe Leigh, further supporting archival accessibility for international audiences. By the 2020s, So Sweet... So Perverse became available on digital streaming platforms, including free ad-supported services like and subscription options such as , often with English subtitles to broaden appeal beyond its original Italian and French markets. These formats have contributed to renewed interest in the as part of Lenzi retrospectives, emphasizing its role in the genre's home media legacy.

Reception and Legacy

Critical Response

Upon its release in 1969, So Sweet... So Perverse garnered mixed critical responses, with praise directed toward its elegant production design and clear homage to Henri-Georges Clouzot's Diabolique (1955), while some reviewers criticized the narrative for relying on predictable plot twists. Italian outlets highlighted the film's erotic undertones as a key draw, contributing to its appeal in the burgeoning psycho-thriller landscape. In modern assessments, the film holds aggregate scores reflecting tempered appreciation: 6.0/10 on based on 1,470 user votes, 3.1/5 on from 2,672 ratings, and a 31% audience score on from over 100 ratings, with limited professional critic input (as of November 2025). Contemporary reviews often commend the stylish visuals and atmospheric tension but fault uneven pacing and a lack of sustained . Critics have identified strengths in the on-screen chemistry between leads and , which anchors the film's interpersonal dynamics amid its intrigue. Weaknesses frequently cited include a lack of originality, given its heavy reliance on established thriller tropes from its influences. Reviews of the 2020 Severin Films Blu-ray release, featuring a new 2K restoration from the original camera negative, have praised the enhanced visual clarity and audio quality, revitalizing the film's lush . Scholarly examinations position So Sweet... So Perverse as a transitional work in Italian cinema, bridging classic psychological thrillers of the 1950s with the more extravagant, stylized excess that would define the full genre in the .

Influence on Giallo Genre

"So Sweet... So Perverse" stands as an early exemplar of the proto-, showcasing Umberto Lenzi's foundational contributions to the genre through its psychological tension and character-driven mysteries, predating the slasher elements that would dominate later entries. As Lenzi's second giallo following (1969), the film emphasized deception and bourgeois intrigue over explicit violence, influencing the visual and narrative style of subsequent works, including Sergio Martino's The Strange Vice of Mrs. Wardh (1971), which shared key personnel like screenwriter Ernesto Gastaldi and producer , and echoed the smooth, anesthetizing cinematography that reflected privileged settings. This positioned Lenzi as a prolific architect of the genre, directing eight gialli overall and bridging classic thrillers like Diabolique () with the more radical optical experiments of the . The film is one of four collaborations between and Lenzi—comprising Orgasmo (1969), So Sweet... So Perverse (1969), A Quiet Place to Kill (1970), and Knife of Ice (1972)—which helped pioneer female-led erotic thrillers in Italian cinema, with Baker portraying complex, duplicitous women entangled in psychosexual webs of desire and manipulation. These collaborations shifted focus from passive victims to empowered yet perilous female protagonists, setting a template for gender dynamics in the that contrasted with the body-count spectacles of directors like and emphasized sexuality as a narrative driver. By exploring bourgeois depravity and female agency, they influenced the evolution of erotic thrillers, blending suspense with bold sensuality to redefine the genre's boundaries. In the 2020s, the film gained renewed cultural prominence through retrospectives and box sets, such as ' The Complete Lenzi/Baker Giallo Collection (2020) and the limited edition UK Blu-ray release by 88 Films (2021), which restored uncensored versions and included commentaries by scholars like Alexandra Heller-Nicholas, sparking discussions on gender roles and perversion in studies. These efforts highlight its enduring legacy in examining psychosexual themes and female objectification, inspiring analyses of how early like this one navigated societal taboos around desire and power. On a broader scale, "So Sweet... So Perverse" contributed to the internationalization of the via its Italian-French co-production, facilitating the genre's export to European markets and shaping 1970s Euro-horror through cross-border collaborations that amplified its themes of erotic intrigue and moral ambiguity. Lenzi's involvement in such ventures, including subsequent Spanish-Italian partnerships, helped embed aesthetics into wider Euro-thriller traditions, influencing hybrid horror-thrillers across the continent.

References

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