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La Tragressione
Watch "Natural Born Killer" and take something heavy, hallucinogenic.
You will start a journey that will take you through the atmosphere of
"Basic Instinct", "Clockwork Orange", "Trainspotting", "Fear and
loathing in Las Vegas" and at the end of this "trip" you will come out
in the most absolute ecstasy of "La trasgressione". A 1987 film that,
unlike the films mentioned, which pretend to be swerve, social decay,
is really a degraded and above all hallucinated (and hallucinating)
movies. A film that is probably one of the trash top points of Italian
cinema. Testimony of the paucity of the eighties. And above all, a film
so bad as to be watch.
In 1986 Pierfrancesco Campanella presents "Cattivi Pierrot" an
erotic/violent thriller that becomes, a year later, after a new
editing, new erotic scenes and the change of the title, the most
tantalizing, "La trasgressione".
To add a load of psychotropic situations this is proudly (with a name
pigeonholed and highlighted in the opening credits) the film that marks
the debut of Rosanna Banfi, and a work that has a Milly D'Abbraccio
that apart goes around half-naked pointed still at the mainstream
cinema. And finally there is Claudia Cavalcanti beautiful as on the
covers of "Blitz" and "Skorpio" that appears fleetingly before making a
double bad end. Tell us if this does not have the same effect as a
heavy drug.
However, it must be admitted that the basic idea, as history has taught
us, could also work. Free violence, wickedness, blood and sex. And a
strange similarity with a "Basic Instinct" scene. Why then does "La
Trasgressione" not stand alongside the best erotic thrillers or the
grotesque/violent drama above? Because here there is no one who knows
how to put these ideas in an acceptable way. From Pierfrancesco
Campanella, author (who almost certainly signs the direction as
Fabrizio Rampelli here) and creator, as well as the protagonist of a
film that he wanted to highlight that "each of us has violent instincts
that can emerge". The acting is very scandalous and only partly the
nudity of Milly D'Abbraccio and Cavalcanti, alleviate the horrific
performances (only the experts Didi Perego and George Ardisson are
saved) as bad as the direction and editing that seem to be made by a
novice butcher.
In addition there is a soundtrack that seems (or is it our hallucination?) to echo the atmosphere of "A Clockwork Orange".
Angelo is a student, who one day yields to the emptiness of the
eighties, ends in existential crisis and takes heroin. From that moment
on his life "seems" to change. He kills his mother; hit a baby into a
crib and runs away from home. On the way he meets a rich middle-aged
man who gives him a passage saying of "I'm full of money", "I'm not a
fagot" and "my daughter is waiting for me". In reality the man (none
other than George Ardisson) tries to rape Angelo but is killed by him
and his daughter (Milly D'Abbraccio). Thus a couple is born who
anticipates Mickey and Mallory with her who has more tits than her
future American version. But the merits end here. Angelo and partner go
around killing people, often pulling them in the middle of erotic
games. The Cavalcanti and companion, bound and burned alive, a
middle-aged artist stabbed to death, a middle-aged man killed with sex
and also the poisoning of several boxes of tomatoes that intoxicate
many people.
This is the change of life that "seems", as written above, to involve
Angelo. Because perhaps, all these murders are the result of his
imagination that mixes the people who are part of his life or will be
part of it. An overdose, even for the viewer.
