Well I can safely say that I never thought I would ever see Marcello Mastroianni - star of several important Federico Fellini and Michaelangelo Antonioni art films - appear in a room full of giant ceramic penises. It's certainly a defining feature of sorts to have the number one Italian actor of the 60's New Wave find himself in this sort of scenario. But to be fair, aside from these giant phalluses having an important part in the plot, The Sunday Woman is a fairly restrained bit of Italian cinema. It certainly, partially at least, falls under the giallo sub-genre but it has the feeling more of an Agatha Christie style whodunit than of a typical Italian murder-mystery. The reason for this is that the story revolves around a very unlikable murder victim whose behaviour ensures that there are plenty of suspects, while the overall emphasis of the film is squarely on the mystery side of the story with very little thriller aspects at all.
The murders are committed off-screen and there is a distinct lack of suspense scenes. This sets it apart from the usual giallo conventions. To be perfectly honest though, if the movie had added more of that sort of stuff it would be even better and might have entered the upper bracket of its genre. As it is, it's a much less salacious affair – giant penises aside – and more reliant on its plotting and acting. It's fairly solid on that front with not only Mastroianni at its disposal as the police inspector but also the reliable Jean-Louis Tritignant in one of his less broody roles as one of the chief suspects, while it was good to see Aldo Regianni from Dario Argento's The Cat o' Nine Tails in another shifty role as Tritignant's homosexual lover. It's also worth pointing out the Il Maestro himself, Ennio Morricone, once more contributes a quality score. He produced so many during this period that is very easy to forget just how good they all actually were and, well, this is yet another one.
It's possibly a little overlong in fairness. The material doesn't really justify a running time just shy of two hours. Having said that it does remain compelling nevertheless and the answer to the mystery isn't too obvious and is quite satisfying. I also liked the strange moments where we see slow-motion fantasy flashbacks of the suspects striking down on the unfortunate victim with their ceramic penis weaponry. It's just so strange but somewhat memorable. I wouldn't necessarily describe The Sunday Woman as a must see for fans of Italian genre cinema though. It may disappoint some who seek the thrills of a typical giallo for example. But I personally consider it one, just a far more low-key entry, and one that has enough intrigue and strange moments to ensure that it works pretty well.
The murders are committed off-screen and there is a distinct lack of suspense scenes. This sets it apart from the usual giallo conventions. To be perfectly honest though, if the movie had added more of that sort of stuff it would be even better and might have entered the upper bracket of its genre. As it is, it's a much less salacious affair – giant penises aside – and more reliant on its plotting and acting. It's fairly solid on that front with not only Mastroianni at its disposal as the police inspector but also the reliable Jean-Louis Tritignant in one of his less broody roles as one of the chief suspects, while it was good to see Aldo Regianni from Dario Argento's The Cat o' Nine Tails in another shifty role as Tritignant's homosexual lover. It's also worth pointing out the Il Maestro himself, Ennio Morricone, once more contributes a quality score. He produced so many during this period that is very easy to forget just how good they all actually were and, well, this is yet another one.
It's possibly a little overlong in fairness. The material doesn't really justify a running time just shy of two hours. Having said that it does remain compelling nevertheless and the answer to the mystery isn't too obvious and is quite satisfying. I also liked the strange moments where we see slow-motion fantasy flashbacks of the suspects striking down on the unfortunate victim with their ceramic penis weaponry. It's just so strange but somewhat memorable. I wouldn't necessarily describe The Sunday Woman as a must see for fans of Italian genre cinema though. It may disappoint some who seek the thrills of a typical giallo for example. But I personally consider it one, just a far more low-key entry, and one that has enough intrigue and strange moments to ensure that it works pretty well.