[.ca] The 10th Victim (Widescreen) (ISBN 6305840091)

From Amazon.com:
Long before reality shows took over the TV airwaves and violent parodies like Series 7 and Battle Royale hit international screens, Elio Petri made this campy social satire of a future in which the bored, the ambitious, and the just plain violent can sign up for a deadly game of cat and mouse. "The Big Hunt is necessary as a social safety valve," explains one TV personality. "Why control births when we can control deaths?" Marcello Mastroianni, who plays the womanizing Italian media darling with a gift for ingenious assassinations, becomes the target of sexy champion Ursula Andress, a New York Amazon with a wardrobe as deadly as it is chic. She'll pocket $1 million if she can successfully kill Mastroianni, her 10th and last victim, but on the side she concocts a deal to do the deed in concert with a live song-and-dance extravaganza mounted by a tea company. Directed with tongue firmly in cheek, Petri lampoons the whole media obsession with high-risk contests and games of chance with cool style, absurdly chic fashions, a bouncy score of organ riffs and funky lounge sounds, and a comically blasé performance by Mastroianni. It's like Fellini gone ballistic with a hint of Divorce, Italian Style: a battle of the sexes in a world where spontaneous shootouts are forever erupting in the fringes of the frame. --Sean Axmaker

This isn't camp. This is hip.:
Who wants to be a millionaire? Don't answer trivia questions. Just kill 10 people before they can kill you! This is one of the few movies I know that perfectly evokes the era of the mid-1960s (despite the fact it is set at some undefined future date). I have loved it since first seeing it thirty or more years ago. Yes, this is where Mike Meyers stole the gun bra joke for Austin Powers, but this is social satire not pop culture sendups. (Literacy is evidenced by collecting rare comic books. In Italy people still believe in family enough not to turn their parents in for disposal. There's no shooting in restaurants.) At the same time as it is laugh out loud funny, it is also very very hip, in the best 60s sense. And am I the only one who has never been able to get the theme song from this film out of his head? Finally, I'm very pleased to see this film in Italian, even if my Italian doesn't extend beyond a few Paolo Conte songs. The old dubbed version (the only version I've previously encountered) did away with at least a couple lines of dialogue (if the subtitles are to be trusted) that I suppose the censors didn't like, plus no end of other dialogue just because that's how they dub movies. The hunt game computer in the Italian version speaks in a voice both so menacing and goofy that it reminded me why I once hated computers. And there is also at least one in-joke about Marcello Mastroianni clearly expunged from the dubbed version.

THE 10th VICTIM:
An early forerunner in the futuristic "legalized-killing-as-TV-entertainment" genre, The 10th Victim lays the groundwork for many subsequent films including Roller Ball, The Running Man, and most recently Daniel Minahan's Series 7: The Contenders. Briefly summarized: in the 21st Century Marcello Mastroianni and Ursula Andress are two all-star assassins pitted against each other in "The Big Hunt," an international game of legalized murder in which a score of 10-kills awards the victor a prize of one million dollars. What sets this film apart from the others is not so much the plot (as while it may be the original in concept, its followers certainly succeed better in overall craft and more pointed satire) as the permanent aesthetic time/date-stamp of 1960's camp. The 10th Victim is a 60's version of the future, in the very best sense. It's a future full of awesome color schemes, ultra-cool music, great furniture, swanky pads, and characters that just ooze with sexual energy. The gem of this film is an opening sequence in which Andress dances around her ninth victim in a hipster club, fashionably slapping the men in the audience with cool and choreographed abandon before mowing down her adversary with bullets fired from a gun hidden in her bra (a gimmick later ripped for the Fembots in Austin Powers). And while the film offers a couple of other moments that approach the brilliance of this opening, its full potential is never realized -- things are not pushed nearly far enough. My biggest complaint: the alligator death chair catapult gizmo is never put to full effect, though perhaps I'm just yearning for the very thing this film means to comment on - more bloody spectacle. All in all it's definitely worth seeing, though you might supplement it with a healthy dose of Mario Bava's Danger Diabolik for good measure.

One of my favorite films of all.:
A brilliant movie based on a superb story by Robert Sheckley. This is sci-fi as it should be: depicting the future as theme & variation on today's manias & rituals. From the "legalized hunt" which has replaced traditional warfare to the "Club Masoch" to the roadside "sex & relaxation" parlors to the parents hidden from the state behind a false wall to the dress & music & settings, this movie not only rings penetratingly true but is boggling in its inventiveness. I first saw it in 1965 (in Oakland California) & I have to say that it was my first "1960s consciousness-raising experience". All these years I've treasured my two VHS copies, one to lend out, one for safety, so I'm really pleased that it is finally back in print.

Ballistic Bossoms:
The Italians really did 1960's camp the best. I mean, what is campier than Ursula Andress chasing a man around in a lavender, backless pant suit, while brandishing a pistol? A killer bikini top? A rest, relax and sex stop on the side of the highway? A cult of sunset worshipers in caftans on the beach? The cinematography and locations are so stylish. Rooftop jazz bars in the blaring sun, minimalist interiors decorated with giant, blinking eyeballs, New York's financial district, pre-World Trade Center and Rome and the Vatican shot from a helicopter. Death and fear, what could be funnier?

10th Victim:
This movie is what I call one of my "guilty pleasures" and when I discovered it had come out on DVD I had to get it. I first saw this in 1966 and although time has marched on it still is a joy to watch. Sometimes it's not because a DVD has 5 stars and excellent audio/video but because it's a personal favorite. If you agree go ahead,indulge yourself-oh,yea, try watching with the english subtitles on for subtle differences. Now let's see if the powers-that-be can manage the release of "Blow-Up"