Tre passi nel delirio
Plots(1)
Vadim directs Jane Fonda as Countess Metzengerstein, a debauched heiress leading a life Caligula would commend. The Countess becomes tormented by the denial of her incestuous desire for her cousin Baron Berlifitzing (fittingly played by her brother Peter Fonda). Malle directs Alain Delon as William Wilson, an Austrian Solider who is haunted by his doppelgänger, tormenting him at times in his life where he is at his most cruel and sadistic. Fellini’s famed segment sees Terence Stamp as a Toby Dammit, an actor arriving in Rome to meet the producers of his new film, the first Catholic Western. Drugged and drunk, Dammit is disturbed by the haunting image of the devil, which like Mario Bava’s Kill, Baby... Kill! and Bunuel’s Simon of the Desert, is actually a young girl, ominously bouncing a ball. (Arrow Academy)
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I have, as my single star testifies, almost no understanding for this kind of pretentious mystery for snobs. According to my judgment, two out of the three stories represent a real disaster and only Louis Malle delivered a decent performance, but his work is undermined by the fact that the point is easily readable after a few minutes and the story itself fails to surprise. Moreover, Alain Delon in the lead role is unable to portray the whole range of emotions that would be desirable in this case. From pride and arrogance to the despair of a person driven to the brink of madness. Roger Vadim showcases what he did for the majority of his career. He sells women's charms in a quasi-aesthetic style that would fit into typical soft porn of the 70s. And Federico Fellini just confirmed that he is practically unusable for genre films. In his auteur art, his mannerism is somehow able to be hiden, but here, the overacting and pretentiousness really hurt. Overall impression: 25%.
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Gallery (24)
Photo © American International Pictures (AIP)
