Strip Nude For Your Killer

Strip Nude For Your Killer (Andrea Bianchi, 1975)

aka Nude per l’assassino

Set in and around a fashion house in Milan, Andrea Bianchi’s 1975 giallo effort STRIP NUDE FOR YOUR KILLER epitomises exploitation cinema; a film that is so balls-to-the-wall (or should that be bush-to-the-wall?) in terms of it’s depiction of nudity and sex, that it’s surely one of the most salacious and lurid examples of a genre that was pretty sleazy to begin with. That said, Bianchi’s film doesn’t even try and trouble the reputation of some of the best gialli, as the plot literally serves as the dots between each scene of gratuitous sex and nudity; but then again, most viewers aren’t going to be watching a film called STRIP NUDE FOR YOUR KILLER because they’re interested in sating their appetite with an intriguing thriller.. Bianchi’s film seems to have been borne out of the same “twenty words or less” pitches that were made famous by the high concept event pictures of the eighties and early nineties where a film could be summarised by either a title or very, very short sentence. With this in mind, the film delivers wholesale, as many of the beauties that orbit the film’s plot do strip and are indeed killed for your viewing pleasure.

Bianchi sets the tone immediately, with a between-the-legs shot of a young woman lying atop of a gynaecologist’s examination table. When said young woman dies during a botched procedure, the setting shifts to a fashion house in Milan. One by one those that are connected with the business are murdered. A killer clad in crash helmet and motor cycle leathers begins to dispatch photographers and models, seemingly indiscriminately, though in true giallo style, there’s a motivation behind the psycho’s actions. As mentioned earlier, the plot of STRIP NUDE FOR YOUR KILLER is functional at best and it’s the set pieces that are of most interest here. The murders come as thick and fast as the comely beauties that are affiliated with the fashion house. And what beauties they are; because no matter how short Bianchi’s film falls in terms of narrative ingenuity, such shortcomings can be overcome when you’re being subjected to oodles of naked Euro goddesses—headed by the lovely Edwige Fenech–flesh that is on offer here. One can easily forgive Bianchi’s liberal theft from the likes of Mario Bava’s BLOOD AND BLACK LACE–with which it shares its fashion industry setting–and Massimo Dallamano’s WHAT HAVE THEY DONE TO YOUR DAUGHTER, from which it steals the look of it’s killer.

Curiously, there isn’t one male character in the film that’s not portrayed as either a voyeur or some kind of sex pest. Even one of the detectives (one that seems to have raided Inspector Clouseau’s wardrobe) can’t stop himself from staring at the crotch of an interviewee! It’s this type of characterization that adds to the films overall aura of sleaziness and results in a sum of parts that really must be seen to be believed. Because each of the film’s male characters, and even some of the parts inhabited by women, are such lecherous predators, Bianchi manages to inspire a feeling within that viewer that leads them to believe that anything can happen, and frequently does.

Shameless’ new DVD release of the film marks the first time it has been released in the UK. While the quality of the audio/visual presentation is a significant step up from the X-Rated Kult Film release from Germany, the print—presented uncut and in anamorphic 2.35:1–still leaves a lot to be desired when compared to other gialli of similar vintage. Picture quality is solid for the most part through daylight and well-lit interior scenes but there’s a fair amount of grain present in those taking place a night. The English soundtrack is far better than that included on the German disc and does a great job of presenting audible dialogue and Roberto Pisano’s catchy music score. The film’s trailer and previews for other Shameless titles are the only extras.

All in all, this is another solid presentation from Shameless. While both narrative and picture quality leave a lot to be desired, the lashings of bare naked beauties and an overall kitsch appeal should please fans that do not own the film already.

(Paul Alaoui)