Michael Ledo The film centers around Bernard (Jean-Louis Trintignant) an actor who gets involved with 17 year old Jane (Ewa Aulin). Jane's dad was recently killed in an auto accident. She thinks it was blackmail and murder. Prescott, the club owner shows up dead, Jane claims she didn't do it. She gets kidnapped by a "midget" and ransomed to her brother Jerome (Charles Kohler). The plot was a bit confusing and the actions taken by the characters stopped making any sense long ago.The film has English subtitles and comments by Tinto Brass options.Guide: No f-words. Brief nudity. Sex scenes were blurred with Vaseline on the lens, a popular effect that passes for art and overused by Penthouse Magazine.

nuclear_division This film is very stylized, liked a lot of the editing effects, the split images in-particular, also how it cuts to war images of Vietnam and changes to black and white in parts. The sets, costumes/wardrobe are elaborate and detailed, the lighting is very good also. Interesting to see London in the 60's, notice how the trains are still powered by steam in the scene behind the graveyard. The casting is quite strong especially Jean-Louis Trintignant who plays the lead role, he is supported by the beautiful Ewa Aulin, the cast of nefarious mob type figures is also a standout. The storyline although a little weak leaves you guessing until the end. It is quite enjoyable overall, but seems a little experimental and doesn't really mesh, but I liked the fact it had a sad ending.

Robert J. Maxwell Well, Eva Aulin is certainly delicious and Jean-Louis Trintignant is sympatico as is usually the case, but the film in its entirety suffers from a poor script and from the director's misguided whimsy.Trintignant visits his partner's office, up the stairs from a dance hall, and discovers Aulin standing over the body, holding a gun, saying she didn't do it. Trintignant takes a second look at seventeen-year-old, blond, robustly figured, ex-Swedish-beauty-contest-winner Eva Aulin and quickly decides, "Right, she couldn't have done it." He runs off with her to search out the REAL killers, and we are treated to a tour of swinging London's most-visited sights. Here's Picadilly Circus. See all the skin shops? And, look -- here's a poster of The Beatles! There's also a kind of zoo. There are small shots of one of Trintignant's eyes. It gets confusing. I think they copulate on top of Nelson's Column but I'm not sure. I AM sure they copulate in Trintignant's apartment in a scene that is all apricot and rose and consists of unidentified hands caressing unidentified body parts. I guess Brass forgot to include the softly billowing crimson drapes and the lighted candles. When somebody hits someone else over the head, there are Pop inserts of the sounds, as in the old Batman TV series -- POW! and ZLONK! I've only seen three or four of Tinto Brass's movie but I'm already able to discern a kind of stylistic arc through the murk. In this film, the earliest of his that I've seen, he appears to be doing everything possible to draw attention to himself as the director. (The screen splits into three separate scenes at one point.) And the relentless use of pop imagery is symptomatic. Hey, look! Mamma mia, I'm inna movies!In a somewhat later film, I think called "L'Uolo," about a handful of people in a surrealistic hotel, the narrative is thrown out completely and we get one bizarre image after another -- no longer just pop, but a kaleidoscopic non sequitur that carries no weight at all after the first few shocking minutes.Finally, Brass found his metier, in the no-man's land between soft-core and hard-core porn. The stories in this later genre aren't original. Usually a bourgeois wife is bored with her marriage and finds a lover who introduces her to, well, a different kind of love. It wasn't original with "Emanuelle" either, or "Lady Chatterly's Lover," for that matter. I'd guess that the theme was first introduced to a public audience somewhere back in time, past Aristophanes, into the Masques, into the mists of antiquity.Of the three phases of Tinto Brass's career, I prefer the last one, the one with the preposterous, prodigious, prosthetic penises. At least there, the director seems to have found a comfortable and satisfying niche.The Italian title, "Col Cuore in Gola," means "With Heart in Throat," but the English title is as much a puzzle as the movie itself. "I Am What I Am." Is it from Yahweh or Popeye? I've been told this is a "cult movie." I wonder what a cult movie is.

dianevallere Just saw this tonight uncut on the big screen here in Hollywood. Visually very nice. But not really a giallo, I don't know why people keep calling it that. There is a murder which basically occurs off-screen and has almost nothing to do with the "story." Virtually no violence, some eyebrow-raising sex, obviously inspired by Antonioni, et al. Little story, lots of avant garde/graphic style, references to Pop-Art/Lichtenstein, comics, "Blow-Up" and other movies/the Viet Nam War/other issues of the day. Nice visuals/editing/soundtrack (which was remarkably clear in the print I just saw, supposedly soon to be out on DVD). At times notably innovative and fresh. A bit of a surprise ending. Wandering narrative, quick cuts, lots of color and gritty flair. Swinging London backdrop. In b/w and color.