Nonureva Really Surprised!

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

jadavix "Perversion Story", as it is hilariously known, is an extremely entertaining stroll through the psychedelic, kinky '60s with some negligible giallo properties.'69 must have been the height of the whole 'porno chic' thing where strippers and nude photo shoots were not considered sleazy in the least. Rather they had merged with the sex positive, flower power sixties, so when the characters visit a strip club, along with improbably beautiful models, they get girls dancing in front of psychedelic projections and multi coloured balloons everywhere. The photo shoot is weird in the stupidest way, with private parts covered with miscellaneous stickers for no reason other than it was the sixties, man.The movie is only nominally a giallo. There's barely any violence, and certainly no black gloved killer stalking the beautiful, nearly naked model. It's less of a whodunit than a "did he do it" - the movie's protagonist ends up on death row. I was surprised that I actually cared about the conclusion: the movie is a triumph of style; you don't care what it's about, you're enjoying the ride too much. This is Fulci at the height of his powers of direction. He didn't need a story when it looked this good.

HumanoidOfFlesh Doctor George Dumurrier(Jean Sorel)is a handsome and rich man who has his own private medical clinic.He is married to Susan(Marisa Mell),but their marriage is unhappy as his wife feels neglected.George has long-time mistress named Jane but he doesn't want to leave Susan while her health is deteriorating.When Susan suddenly dies Dumurrier encounters a stripper who looks strikingly similar to his late wife.Gorgeously photographed giallo obviously inspired by Alfred Hitchcock's "Vertigo".There is plenty of sex and steamy eroticism plus a little bit of violence.I particularly enjoyed Marisa Mell's performance as a cunning femme fatale.San Francisco seeped in late 60's hippie psychedelia is a perfect setting.There is a brief moment of gore when rotting corpse Fulci style is shown.No black gloved killers with childhood traumas,though.8 death rows out of 10.

Witchfinder General 666 Lucio 'godfather of gore' Fulci may be best known for his ultra-gory Zombie films, but the majority of my fellow fans of Italian Genre-Cinema will probably agree that his Gialli from the early 70s, most notably his greatest masterpiece "Non Si Sevizia Un Paperino" aka. "Don't Torture A Duckling" (1972) are easily as noteworthy. The master's first Giallo, "Una Sull'Altra" aka. "Perversion Story"/"One on Top of the Other" pf 1969 is a very gore-less but utterly fascinating Thriller/Mystery which no Cult-fan should consider missing.As some other early specimen for the genre, this isn't a typical example for the Italian Giallo, as it doesn't focus on a series of murders. The womanizing San Francisco Doctor George Dumurrier (Jean Sorel) is with his mistress, the erotic photographer Jane (Elsa Martinelli) when he hears that his wife, who suffered from grave asthma, has died. Soon thereafter, George makes the acquaintance of the sexy and mysterious stripper Monica Weston (Marisa Mell), who happens to be the spitting image of his wife. Shortly thereafter, it is revealed that his wife was poisoned... I do not want to go into detail about the wonderfully convoluted storyline, but I can assure that "Una Sull'Altra" should satisfy any fan of suspenseful mysteries in general and Italian Cult cinema in particular. Italian cult-directors had a unique talent for combining sleaze and elegance; the late 60s in particular were a period when elegant films about sexual perversion (such as "Femina Ridens" or "La Malizie Di Venere") would lead from the restrictions of 60s cinema into the openly and explicitly sleazy 70s. "Una Sull'Altra" is from that period, and while the film is not yet quite as graphically explicit as many 70s Gialli, the focus on erotic elements is strong. Especially the gorgeous Austrian cult-beauty Marisa Mell ("Diabolik", "La Belva Col Mitra", "Milano Rovente"...) epitomizes eroticism as the femme-fatale stripper Monica. The film is full of tasteful female nudity, most notably by Mell. Elsa Matinelli makes another great, strong and sexy female as the sleaze-photographer Jane and Jean Sorel ("La Corta Notte Delle Bambole Di Vetro", "Una Lucertola Con La Pelle Di Donna", "Belle De Jour") makes a very good lead. The rest of the cast includes several other well-known cult-actors such as Alberto De Mendoza ("Lo Strano Vizio Della Signora Wardh", "La Coda Dello Scorpione"), John Ireland and Riccardo Cucciola, who is probably best known for his role in Mario Bava's 1974 masterpiece "Cani Arrabbiati".As Fulci's later Gialli, "Una Sull'Altra" is elegantly shot. While the San Francisco setting differs from the typical Italian Giallo-Settings it has a great potential for atmospheric beauty which Fulci makes best use of. The psychedelic score by maestro Riz Ortolani is hypnotic and brilliant and one of the most mesmerizing atmospheric aspects of the film. While the film is almost completely gore-less, Fulci's talent for gore manifests in one sequence in a morgue. "Una Sull'Altra" is a suspenseful, atmospheric and highly interesting film that is worth watching for many reasons. The gorgeous Marisa Mell is only one of these many reasons, but she's undeniably the most obvious one. 8/10

Schwenkstar I must admit that I do not care for the films of Lucio Fulci - his horror films are filled with repulsive gore and devoid of intelligence, and his gialli (murder mysteries) are better but filled with unnecessary perversion and debauchery - so suffice to say I was apprehensive when viewing this giallo by the "godfather of gore". To my surprise, I actually enjoyed this quite a bit.Admittedly, there was the unnecessary nudity that littered the film, but luckily it was neither maliciously exploitative (instead, it was tastefully done) nor was it overwhelming in content (most of it is localized only in a few key scenes in the beginning of the film).However, the factor that truly made the film work was its focus upon its narrative rather than attempting to provide cheap thrills (as Fulci often does). The plot is obviously borrowed from "Vertigo" but not to the degree that I would call it a blatant rip-off (like Brian DePalma's "Obsession" was) as it had its own unique twists and turns to the proceedings. It does seem to plod somewhat in its initial reels as it focused on the lavish lifestyles of a stripper and a photography model, but once the twists begin at the half-way point the viewer's interest is perked and it manages to hold onto it until the end.The direction is surprisingly subtle and aesthetic for a Fulci film, focusing upon images of mirrors and reflections on glass windows the reflect upon the duality of the characters (each often have two sides to their beings, such as the doctor who is married but is having an affair, but also the fact that the doctor believes his wife has a doppelganger).I wouldn't necessarily recommend this film to many as its material is lurid (despite Fulci's admirable restraint), and the plot isn't anything unique, but it's all done in a very sufficient and stylish manner with just enough intelligence to make it a pleasant watch. Recommended for giallo fans, a slight recommendation to mystery/thriller aficionados, but others not really interested in the genre should just watch Hitchcock's "Vertigo" again.