Fantastic!

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Story: It's very simple but honestly that is fine.

Blistering performances.

Long neglected Gothic Giallo from Francesco Barilli that is entirely undeserving of such treatment. I have noticed that Luc Merenda is generally given short shrift as an actor, which is something I've never truly understood, but even his skeptics might be in for a pleasant surprise here, as he really delivers an excellent performance as a sleazebag, rapist Lothario replete with a righteous scumbag 'tash and oily, slick-backed barnet. Mention must be made of the excellent score by Adolfo Waitzman who creates a subtle sense of fear and degeneracy to the Gothic proceedings. For me personally this film is a truly great discovery and one more needlessly obscure Italian thriller that towers above much of the tedium produced today.

Hat tip to Giallo Trailers for turning me on to this title. It's not listed in any of the usual "must see" giallo reviews, so I would have missed out otherwise. I searched for this title for some time and only recently found, after having forgotten about it for a time, that it was now available on Italian DVD with no subtitles. Even then, I couldn't find it at my usual sources.However, some kind soul uploaded the entire movie and I watched it last night. While not a Giallo masterwork, it is a very good little film. Creepy atmosphere, little blood, great setting. If you don't speak a lick of Italian, I still think you can follow the story pretty well.Circa 1945, in a small Italian village, a mom and daughter run an old rundown boarding house, with peeling plaster and bricked windows a plenty, somewhat isolated from the town. I was immediately struck by the Agatha Christie-feel of the plot and scenes similar to those being churned out in the 70's. The daughter, Rosa, is amazingly beautiful and innocent, handling the role very well in spite of some considerable nudity. Seriously, the movie is rife with cunnilingus, which is unusual to say the least. There is also a rape scene, and you see more male buttocks that you might like. The rogue's gallery of characters include a drunk man-servant, a balding, lonely piano player, a Burt Reynolds / Antonio Banderas type and his older wife, a horny fat guy and his girlfriends. You have to be prepared for nothing to happen for the first hour. This isn't to say you'll be bored. Art house cinema fans will dig it, but it doesn't beat you over the head with its intentions. Also, there is a man hiding away in the mother's room. She brings him food every night after everyone is supposed to be asleep. I do feel a little guilty about writing a review for a movie whose dialogue I couldn't truly follow, so if my guesses at character motivation are a little off, forgive me. I think the man is the mother's lover whom she's taken in while her husband is fighting in the war.The mom dies in an "accident" which leaves the comely Rosa to run the house. This proves to be rather difficult since now that her mother is dead, every man in the house openly lusts after her. And that's not all that's afoot. There's a shadowy killer stalking the corridors and dripping staircases. However, if you are looking for that to be the central theme, you might be disappointed. It takes a backseat to the setting and character development. Enter a few gangsters who stir things up. A wandering Rosa starts hearing and seeing things she shouldn't, which helps the story along. I made note of several instances where I was reminded of Suspiria, mainly with color use and voyeuristic POV shots, plus a few eyeball close ups. The score occasionally picks up and dazzles.My suggestion is that you only see this if you are into Italian art house cult cinema or giallo films. If you are looking for a straight up stalking razor killer with high body counts, look elsewhere. Oh, there are lots of deaths, but not in the giallo style, shall we say.

Francesco Barilli's follow-up film to his equally mesmerizing "Perfume of the Lady in Black" is definitely among the most underrated horror films ever! I wonder why it became so obscure, considering how great it actually is, and overall, it's very upsetting to think that it will probably never get the recognition it deserves (it's only available in Italian with no English subs, as apparently it was never officially released in the US or any other English-speaking country that I'm aware of) In many ways, the film is something of a bettered version of "Perfume", as even though the scenario is quite different, many themes, ideas that were presented in a more subtle way in it's predecessor, are considerably more developed in this one. Also, to everyone who labels Italian horror as style over substance, this one proves the contrary, as it's script (written by Barilli in collaboration with Barbara Albertini and Amedeo Pagani of "The Night Porter" fame) is one of the most complex, intelligent and well written of genre films being released at that time period. The film takes it's time developing each characters and their own inner conflicts. This does take a while, and for most of the first half, it plays out more like a drama than it does horror, but this doesn't hurt the film at all in my opinion, as it only adds to the build-up for a insanely brutal finale and helps us identify with our leads. The plot basically follows a young girl named Rosa, who runs a small inn with her mother during the World War II. After her mother is found dead under mysterious circumstances, Rosa finds herself at mercy of her mother's sinister, sexually depraved guests, but not before a cloaked figure starts prowling the dark hallways of the inn, with horrifying fates in store for those who harm Rosa. The gruesome-yet-beautiful story blends perfectly with the trademark giallo visual style (lots of blue and red gels, as well as some gorgeous locations at the Italian countryside), as well as the haunting score by Afoldo Waitzman (who also composed the score for "A Bell from Hell"), present in almost every single scene, and very important to help characterizing the protagonist, and her surroundings. Leonora Fani was the perfect casting choice in the difficult role of Rosa. She has that angelical, innocent look that the character requires, but is also a very talented actress, as shown through her claustrophobic descent into madness, as the film progresses. Luc Merenda is also great in it, and it was interesting to see him play against the type (just watch "Torso" to see what I mean), as the nasty and hateful Rodolfo. Overall, another unheralded masterpiece from a very underrated director. It's a pity that Barilli didn't make more horror films, as his two entries in the genre are on the same level as (almost) everything Bava or Argento has done. 10/10

In all honesty I right away have to admit this won't exactly become my most informative and insightful user-comment, as I watched "Pensione Paura" in its original Italian language print without any subtitles or dubbing whatsoever. Throughout several years of watching Italian films I picked up a few words here and there, especially horror-related ones, but of course not nearly enough to fully comprehend the convoluted plot and structure of a typical Giallo. This should also give you an idea of how rare this film is; as I literally searched all over the Internet for an original VHS copy or at least a halfway decent bootleg DVD, and all I could find was this crummy, ancient and exclusively Italian version. Luckily enough a genuine Italian 70's Giallo has plenty more to offer than just plot-complexity, and since the same guy who brought us "The Perfume of the Lady in Black" also directed this "Pensione Paura", I hoped to see an enormously stylish & visually impressive effort with gritty undertones and uncanny musical guidance. Well okay, the film didn't nearly turn out as enchanting as the aforementioned "Perfume…" but multiple scenes and set pieces are beautiful to look at and, even though I don't understand one iota of the dialogs, you can easily tell the subject matter is compelling. "Pensione Paura" translates as guest house of fear, and that's pretty much the most accurate description I can give. Rosa is timid and frigid young girl who helps her mother running the family pension whilst her father is serving in WWII. The place is filled with sleazy and ill-natured guests, including a married man who constantly attempts to abuse Rosa and the mother's secret lover who lives hidden away in the attic. When the mother is found murdered one morning, Rosa remains behind unprotected and surrounded by people with wicked intentions. She gradually loses her sanity, but just when the guests collectively plot to involve her in a giant orgy a masked and heavily armed man appears to the scene. I realize this is all rather vague, but it's better than giving false plot-information. "Pensione Paura" sadly doesn't feature many bloodily staged murder sequences or graphic sleaze, but the atmosphere is noticeably ominous and grim. Adolfo Waitzman's score is terrific and the cast features a couple of familiar faces, like Luc Merenda of "The Violent Professionals" and "Torso" and Francisco Rabal who recently (and just before passing away) starred in Stuart Gordon's "Dagon". This is a very interesting film, to say the least, and if anyone knows of an available copy with English subtitles please mail me ;)