aka I Corpi Presentano Tracce di Violenza Carnale, Torso: Violencia Carnal
Directed by: Sergio Martino
Starring: Suzy Kendall, Tina Aumont, Angela Covello
Review by Luisito Joaquín González
When I launched a SLASH above, my motivation was to focus solely on the slasher genre and not branch too far outside of the category. But with the differences being so slim between those and the Italian and Spanish Gialli flicks, I decided to post reviews of the titles that were most definitely inspiration to the style of cinema that we love today.
Being that I was first captivated by Halloween, I never paid attention so much to the European exploitation features that laid the groundwork for Carpenter’s classic. This is bizarre, because I am full latin and in Spain, we consider Italians, Portuguese and Romanians our latin brothes. As I have aged and become accustomed to a higher level of filmmaking, I have grown keener on their classy style and twisted mysteries. Sergio Martino’s Torso or I corpi presentano tracce di violenza carnale is one of a number of my all time favourite Giallos and holds up superbly with the features released almost forty-years after.
A maniac in a white mask has been killing girls and mutilating their bodies around a college campus. After one murder, he leaves a scarf at the scene of the crime and Dani swears that she has seen it before. Soon after, she begins receiving anonymous and threatening phone calls, so she flees with four young beautiful girlfriends to the safety of an isolated country villa. Little do they know the crazed loon has followed them to the retreat and they’re next on his list.
Watching Torso is like seeing a ‘making of’ feature for the entire slasher category. There is so much that was definitely borrowed from this for the template and it is done here with such panache that you have rarely seen it bettered. The masked assailant stalking a love-making couple in a parked car has been conveyed a billion times since, but there’s something crisp about its authenticity here. The killer turning off the lights so that he could trap his victim, launched a great set piece and the murder is bloody and ferocious. There’s also a morally ‘purer’ final girl who is left alone to fend off the killer and the have sex and die rule is in full effect here too.
Martino directs with a wonderful flamboyance and his lens soaks up the gorgeous backgrounds and architecture with a wide overflowing frame. Giancarlo Ferrando’s cinematography is adept and skilful, utilising lush tracking shots that glide across the screen like a ballet dancer. We get a fantastic forest stalking sequence that is tightly crafted and full of suspense. It is aided by some off- beat scoring that helps to build the victim’s desolation. The smart finale shows the mastery of a tension maestro as Jane goes downstairs to find the corpses of her friends. Of course, the killer is unaware that she is in the house, so she has to watch on in complete silence whilst he dismembers the corpses of her buddies with a hacksaw! Martino takes time to develop a pulsating atmosphere and it builds up to a pitch perfect closing scene. I liked the fact that the mystery is strong enough to keep you guessing and there is a good number of red herrings so that you won’t have picked your choice for the culprit until later in the runtime. There’s also a nice dose of the macabre as the killings are intercut with a creepy doll very similar to the one used a decade later in Curtains.
As you can imagine by the translation from the original Italian title, “Bodies bear traces of Carnal Violence” (in Spain it is called Torso: Carnal Violence), it has a nice load of gore in its uncut version. There are throat slashings, an eye gouging, mutilation and one guy gets his head squished by a car! The effects look quite poor compared to more recent splatter, but during the times of extreme censorship that would follow, they are gruesome enough to get it cut in most countries.
I mentioned the eye-catching locations, but even they do not come close to the looks of the cast. I must mention the voluptuous Patrizia Adiutori whose mystique green eyes give her an outstanding beauty. It’s nicely acted from a strong European cast and there’s also mounds of nudity for T&A fans
I am very fortunate to have some great readers and I love speaking with you all by email. One thing I have noticed is that a lot of you prefer the more modern slashers, which is because at 30, I’m a tad older than you now. I urge you all however to check out Torso as it is one of the best thrillers available and was definitely inspiration for Carpenter’s Halloween.
Sergio Martino may not have the reputation of Argento, but this is a stand out classic and should be seen and seen again. It is sleazy, but has the class to get away with it
Final Girl: √√√