THE SWEET BODY OF DEBORAH

Carroll Baker and Jean Sorel

THE SWEET BODY OF DEBORAH (aka il dolce corpo di Deborah/1968). Director: Romolo Guerrieri. 

Deborah (Carroll Baker) marries handsome Marcel (Jean Sorel) after only knowing him a few weeks. Marcel had been practically engaged to a woman named Suzanne (Ida Galli) who committed suicide when he left her. Visiting his hometown, Marcel sees signs that his former lover is either still alive or someone is trying to make it look that way. Deborah begins to receive unsettling phone calls and fears for her life. Then there's the angry Phillip (Luigi Pistilli of A White Dress for Mariale), who was in love with Suzanne and is furious at the way Marcel treated her. After Deborah and Marcel rent a truly fabulous house, they run into their neighbor, Robert Simack (George Hilton of The Dark is Death's Friend), who seems to have his own agenda. But then maybe everyone in this movie does -- a sinister plot eventually unfolds ... 

Jean Sorel

The Sweet Body of Deborah is a smooth if minor bit of romantic suspense that has some plot similarities to, of all things, Midnight Lace with Doris Day. Baker is so beautiful, and her character seems so completely appealing,  that it's a wonder anyone would think all she had going for her was her money. As usual Baker and Sorel make a good and sexy team; the couple also appeared together in Paranoia. Galli, Hilton and Pistilli all appeared together in The Case of the Scorpion's Tale. 

Verdict: Reasonably absorbing Italian mystery with an attractive cast. **3/4. 

THE FOX WITH THE VELVET TAIL

Husband (Kendall), wife (Gade), lover (Sorel)

THE FOX WITH THE VELVET TAIL (aka In the Eye of the Hurricane/1971). Director: Jose Maria Forque. 

Wealthy Ruth (Analia Gade of The Murder Mansion) is bored with her husband, Miguel (Tony Kendall of Kommissar X: Kill Panther Kill), and tells him she's filing for divorce. She takes off for her gorgeous summer place with her equally attractive new boyfriend, Paul (Jean Sorel of Paranoia). Things are going great for the couple until Ruth nearly dies in a couple of accidents, and then Miguel shows up. She wonders if Miguel was somehow responsible for her near-death incidents, but Paul poo poos. A beautiful woman named Danielle (Rosanna Yanni) observes everything from a distance, and then Ruth overhears the two men in her life having a very strange conversation ... 

Jean Sorel

Bolstered by beautiful locations and some adept players, as well as a stylish and romantic aura, The Fox with the Velvet Tail is an intriguing if basically bloodless suspense tale. Analia Gade offers a comparatively perfunctory performance, but the two men are better, and the whole production is smooth and well-paced. The scene when Ruth's brakes fail is thrilling, and a completely silent attempted murder scene late in the picture is very well-shot and edited. Of course, as in most of these movies, there is a slight touch of lesbianism. Viewers expecting a gory giallo film will have to look elsewhere, but this somehow works despite the lack of gruesome killings. 

Verdict: Sorel makes a convincing lover boy. ***. 

PARANOIA/A QUIET PLACE TO KILL

Carroll Baker and Jean Sorel

PARANOIA/A QUIET PLACE TO KILL (1970). Director: Umberto Lenzi. 

After an accident, Helen (Carroll Baker), a race car driver, is invited by (whom she thinks is) her ex-husband, Maurice (Jean Sorel), to his estate, where he now lives with his wealthy wife, Constance (Anna Proclemer). Helen discovers that Constance actually issued the invitation, and there are early hints -- later discarded -- that she has a yen for her. Maurice is an unapologetic gigolo who left Helen when her money ran out. Constance has good reason to hate Maurice -- one revelation is kept towards the end of the film -- and offers Helen $10,000 if she'll help her kill him. But as usual in these kind of movies, things don't go as expected. 

Proclemer with Sorel

Carroll Baker gives a very good performance in this, one of several thrillers she did for director Umberto Lenzi. Sorel, who may or may not be dubbed, is comparatively listless, however. Proclemer makes a better impression, as does Marina Coffa as Constance's nubile daughter, Susan. Another film inspired a bit by Diabolique -- wife and ex-wife as opposed to wife and mistress -- the lack of originality, despite some minor twists, keeps this from being memorable. The theme song, "You," is horrible and horribly sung! A nominal giallo film essentially devoid of grisly murders. 

Verdict: The picture pulls one along but there's no pay-off. **.