I had actually forgotten Martino shot his Satanic thriller in England. Edwige Fenech in early 70s England was plenty enough, but plagued with surreal dreams, haunted by the death of her unborn child and the sinister features of Rassimov in blue eye contacts often following her; this just added even more sweet for my tooth. I was just so taken with Edwige, glued to her face, immersed into that beauty, lost in the soft lens glow of Martino's camera as it caresses this incredible woman. When Edwige decides to just shower in a white shirt, the water drenching her body, revealing that attractive form Giallo fans very much recognize and remember fondly. Her lips and eyes, distinctively seductive, full, and lush, with that long black, thick hair, and her voluptuous figure, Edwige is forever painted on Martino's cinematic canvas.
This film just has a different flavor thanks to Martino shooting his film in England. Fenech as the woman in London eventually overwhelmed by a cult later on only gives this particular film a unique spin. This isn't to me a Giallo. It follows that sort of Rosemary's Baby and plenty of the cult/witchcraft/Satanic thrillers of the late 60s and early 70s. I sure did feel Martino really wanted to leave his own stamp. Fenech certainly is a choice for the lead I could get behind.
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