Farley Granger leading role as women's seductor took the picture a distrust at least,totally miscasting to the role for obvius reason,Barbara Bouchet and Rosalba Neri were the highlights in fine sexy scenes,even the screenplay has a overdose of female relationship instead with opposite manner,certainly was an intent of Silvio Amadio who implied such direction,the swamp nearby Venece is also beautiful landscape which adds too much to increase interest for the movie that spent so much time almost in a castle,the final is easily predicable,but worth spend some money to see those gorgeous girls like Bouchet and Neri in a few nudes shots!!Resume: First watch: 2018 / How many: 1 / Source: DVD / Rating: 6.25

Holy Sheeit! Although plot wise this giallo is the old-school type where a bunch of folk in a huge mansion double cross and play mind games with each other before everything comes to a head (like The Third Eye or Libido), this one also gives everything a contemporary seventies vibe with wall-to-wall nudity from start to finish – and those getting naked are Barbara Bouchet and Rosalba Neri! Barbara Bouchet is the newly appointed secretary employed to transcribe a novel that smug writer Farley Granger is writing, and this involves shacking up at his huge mansion where he lives with his equally smug wife Rosalba Neri and their butler Umberto Raho. Seems that the police have been sniffing around for a while as Farley's last secretary Sally has gone missing, and Barbara doesn't seem too surprised to overhear this. She is surprised by finding a hulking brute standing outside of her window and is given a chill pill by Rosalba, which leads to an eye- popping scene where a half-conscious Barbara writhes about naked while Rosalba also strips off and gets busy with her – all in slow motion and immaculately filmed. But don't knock one out yet fellas, there's much, much more where that came from!The next day Barbara doesn't recall that Sapphic encounter but is clued into things right away when, during one of Rosalba's sexy parties, she puts on an adult version of Red Riding Hood ("That hood will be red from all that riding!" – someone exclaims!) and Barbara recognises the actress as her pal Sally! A brief and subtle flashback showing the two of them naked under a waterfall may or may not hint that they might have been more than friends, but I'm not sure. There is actually some sort of mystery in amongst the boobs and arses. Barbara thinks someone has killed Sally, and coincidentally the audio tapes that Farley gives her to transcribe seem to detail the plot of the film she's in, and around this time she begins to suspect that she may be next. Who can she trust? Rosalba, who at one point jumps out of a swimming pool to have a quick puff on a cigarette? Umberto, whose motives are unclear? How about the big brute guy, who guts a live eel in front of Barbara for some reason? Could have done without that bit, which is something I seem to be saying more frequently. It's not very violent and as you'd expect things kick off at the end a bit. There are twists right up until the last thirty seconds. The thing with Barbara Bouchet and Rosalba Neri is that the two of them can actually act too – especially Rosalba, who can switch from sweet to evil to sexy at the drop of her knickers. Barbara Bouchet's Boobs will return in Lucio Fulci's Don't Torture A Duckling!

Amuck! is a great title, but this is a movie that has a ton of great other titles –Alla ricerca del piacere (In Pursuit of Pleasure), Maniac Mansion, Leather and Whips and Hot Bed of Sex were also used and the working titles were Replica de un delitto (Repetition of a Crime) and Il passo dell'assassino(Footsteps of the Killer). No matter what name you give it, this is one dark little film.Greta (Barbara Bouchet, who next to Edwige Fenech could be considered the queen of the giallo thanks to turns in Don't Torture a Duckling and The Red Queen Kills Seven Times ) is an American abroad, working as the secretary to Richard Stuart (Farley Granger, So Sweet, So Dead and What Have They Done to Your Daughters?).Along with his wife Eleanora (Rosalba Neri, Lady Frankenstein), the writer lives in comfort on his own island. Their past secretary, Sally, disappeared without a trace. However, Richard and Eleanora don't know Greta's reason for joining them — the missing girl was her lover, a fact we find out via a flashback lovemaking scene that is artful, if stilted, awkward and the way that men would assume women would couple (staring at one another and attempting to kiss, then going to sleep). Indeed, it feels like the fever addled wet dream of a maniac, which pretty much sums up what giallo can be at times.The more Greta gets close, the more sex, drugs and violence is unearthed. The Stuarts often hold sex parties in their palatial home. Oh yeah — Eleanora has ESP, seeing Great's death, screaming about it while in a fit of prophecy.Indeed, death begins to follow our heroine. The next day, a hunting trip turns into a brush with quicksand, that most evil of all movie doom.Richard reveals that Eleanora fascinates him because of her duplicitous nature and he is falling in love with Greta because of how honest she is. He then reveals the accident that claimed Sally's life in a flashback: Eleanora watches Rocco through her hunting scope before inviting him to a rendezvous with her and Sally. They both dance for him in a series of druggy jump cuts — perhaps the film's most assured scene. After making love to Eleanora, the fisherman kisses Sally tenderly before losing control, which is shown by how the film speeds up, like the Keystone Kops. He ends up choking Sally to death while Eleanora watches, powerless to stop him.Richard and Greta end up making love later that night during a storm. Eleanora watches through the doorway before looking directly at the camera, as if she is sad yet not surprised.

Given that Amuck features two of my Euro-favorites, Barbara Bouchet and Rosalba Neri, it's a surprisingly average giallo. Bouchet is a young secretary working for a publishing house. She becomes concerned when her friend and fellow co-worker goes missing. She gets assigned to the same writer (played by the dull Farley Granger) to investigate her friend's disappearance. She immediately suspects the writer and his lover, Neri, and must endure their sexual advances if she is to find her friend.For a film of this type to be effective, I've found that it's important to believe the protagonist is in real danger. You have to believe that their investigations might lead to their death. Other than the duck hunting scene in Amuck, I never once felt that Bouchet's character was in any real sort of mortal peril. While there was a real chance she was going to be drugged and forced to have sex, I knew she wasn't going to die. Add to this the fact that the solution to the murder is laid out in the first 30 minutes and you've got no real tension or suspense.