Fango bollente is a film that leaves a mark. Part detective, part noir, but for the most part a portrait of ruthless alienation. No coincidence then that it should be set in Turin, the industrial capital of Italy. “Modern society produces everything. Why shouldn’t it produce monsters, too?”, is a question asked by one of the film’s protagonists, a bad guy played by Joe Dallessandro, previously one of the central figures in Andy Warhol’s Factory. The question perfectly sums up the tension that pervades this film. Fango bollente is striking in its sadistic violence, leading to comparisons with Stanley Kubrick’s A Clockwork Orange, and leading also to trouble with the censors. It is an anomalous object of fascination.
Three young, seemingly normal, white-collar workers transform into ruthless criminals by night. A police detective, who has been taken off flying squad duty, is hot on their tracks. He catches two of them, but what about the third?
Fango bollente is a film that leaves a mark. Part detective, part noir, but for the most part a portrait of ruthless alienation. No coincidence then that it should be set in Turin, the industrial capital of Italy. “Modern society produces everything. Why shouldn’t it produce monsters, too?”, is a question asked by one of the film’s protagonists, a bad guy played by Joe Dallessandro, previously one of the central figures in Andy Warhol’s Factory. The question perfectly sums up the tension that pervades this film. Fango bollente is striking in its sadistic violence, leading to comparisons with Stanley Kubrick’s A Clockwork Orange, and leading also to trouble with the censors. It is an anomalous object of fascination.
Three young, seemingly normal, white-collar workers transform into ruthless criminals by night. A police detective, who has been taken off flying squad duty, is hot on their tracks. He catches two of them, but what about the third?
