Driving home in the brand new Volvo his wealthy wife (former Miss Italy Lucia Bosé) gave him for his birthday, Ricardo comes upon a smoking, overturned auto with a man and boy trapped inside but, afraid he'd get bloodstains in his new car, he ignores their cries for help and drives away just before the wreck explodes. Soon after, blood begins pooling in his backseat and Ricardo comes to know how Lady Macbeth felt when he can't get the damned spots out no matter how many times he cleans the car...
All the horror is psychological in this Franco-era Spanish film that once again lambastes the self-centered, materialistic, unfeeling, and sexually decadent rich. Ricardo's the most "normal" (he's only an art forger with a young mistress) but in their self-absorbed world, having feelings of any kind means something must be wrong with you and there's a high price to pay for that. Favorite scene: When Ricardo, scared to death, goes to trade his new car in for another one, the rest of the Volvo's on the lot get together for some Busby Berkeley choreography before coming to a halt and sliding back their sun-roofs simultaneously to reveal they all have bloody backseats. Also, many priceless objets d'art from the 8th, 12th, and 16th centuries were on display and discussed in loving detail which, of course, points out the obvious: these people cared more about their possessions than they did about other people. Seen in context, it's a very thought-provoking film.
All the horror is psychological in this Franco-era Spanish film that once again lambastes the self-centered, materialistic, unfeeling, and sexually decadent rich. Ricardo's the most "normal" (he's only an art forger with a young mistress) but in their self-absorbed world, having feelings of any kind means something must be wrong with you and there's a high price to pay for that. Favorite scene: When Ricardo, scared to death, goes to trade his new car in for another one, the rest of the Volvo's on the lot get together for some Busby Berkeley choreography before coming to a halt and sliding back their sun-roofs simultaneously to reveal they all have bloody backseats. Also, many priceless objets d'art from the 8th, 12th, and 16th centuries were on display and discussed in loving detail which, of course, points out the obvious: these people cared more about their possessions than they did about other people. Seen in context, it's a very thought-provoking film.