Directed by Pasquale Fanetti, who often worked as a cinematographer on movies like Lady Chatterley's Passions 2: Julie's Secret and Penombra, as well as directing Lady Emanuelle and 1990's Top Model 2, which was written by Ernesto Gastaldi and Roberto Leoni while seemingly having nothing to do with the Joe D'Amato movies, Intimate Crimes has the traditional large Italian writing room, including Albert Barney, Pino Buricchi (who wrote The Red Monks to give you an idea of this film's quality) and Gaetano Russo (the writer of Trhauma and director of Crazy Blood and Abisso Nero), as well as a late in his career Renato Polselli.
This comes in the time when the giallo has become the erotic thriller and when the sex part of the sex crimes is more important than the crime, so to speak. Yet at the heart of all erotic thrillers beats the yellow blood of Edgar Wallace-influenced murder mysteries and this is no different, even if the nudity is more abundant and some of the sex scenes seem downright painful. I mean, people do not couple in this way ever, their parts do not match or come together in this way and yet we have been instructed by not just Hollywood that everyone ruts together in such a stiff and natural way.
Gabriella Barbuti, who plays Claudia, is in Karate Warrior 6. Sometimes, the deeper you go into watching these movies, the more you realize that you are gaining arcane knowledge. However, unlike in magic or, let's say, something that would be beneficial to humanity, you only have this knowledge for yourself. She's also in P. O. Box Tinto Brass, a movie where women write letters to the famous dirty old man director and tell him their fantasies and the Sergio Martino-directed, Umberto Lenzi-written Craving Desire, speaking of giallo masters trying to remain relevant in the 90s. She looks exactly as you would expect an actress in a Tinto Brass movie to look and I mean that as the highest of compliments. Another actress he used was Sara Cosmi, who plays Valeria. She's also in P. O. Box Tinto Brass.
Sadly, so much of this feels uninspired. I always think the men who made actual giallo would gaze out the window while making these and think wistful thoughts back to the late 60s or early 70s, when life was a bit younger, when it didn't feel like work to get out of bed in the morning, when the cradle was closer than the grave. It's for them that I watch these later efforts, as if to put a hand on their sleazy shoulders and say, "I will still be here for you, even if it is only metaphorically and through the tracking of ancient VHS posted digitally through pirated files."
This comes in the time when the giallo has become the erotic thriller and when the sex part of the sex crimes is more important than the crime, so to speak. Yet at the heart of all erotic thrillers beats the yellow blood of Edgar Wallace-influenced murder mysteries and this is no different, even if the nudity is more abundant and some of the sex scenes seem downright painful. I mean, people do not couple in this way ever, their parts do not match or come together in this way and yet we have been instructed by not just Hollywood that everyone ruts together in such a stiff and natural way.
Gabriella Barbuti, who plays Claudia, is in Karate Warrior 6. Sometimes, the deeper you go into watching these movies, the more you realize that you are gaining arcane knowledge. However, unlike in magic or, let's say, something that would be beneficial to humanity, you only have this knowledge for yourself. She's also in P. O. Box Tinto Brass, a movie where women write letters to the famous dirty old man director and tell him their fantasies and the Sergio Martino-directed, Umberto Lenzi-written Craving Desire, speaking of giallo masters trying to remain relevant in the 90s. She looks exactly as you would expect an actress in a Tinto Brass movie to look and I mean that as the highest of compliments. Another actress he used was Sara Cosmi, who plays Valeria. She's also in P. O. Box Tinto Brass.
Sadly, so much of this feels uninspired. I always think the men who made actual giallo would gaze out the window while making these and think wistful thoughts back to the late 60s or early 70s, when life was a bit younger, when it didn't feel like work to get out of bed in the morning, when the cradle was closer than the grave. It's for them that I watch these later efforts, as if to put a hand on their sleazy shoulders and say, "I will still be here for you, even if it is only metaphorically and through the tracking of ancient VHS posted digitally through pirated files."