Word: victimes
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Dates: during 1960-1969
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Sometimes a pretty ugly movie like The Hill makes it on dramatic tension alone, and sometimes a dramatically vacuous one like Red Desert makes it purely on pictorial grace. Sometimes a movie like Elio Petri's The Tenth Victim, with Ursula Anbuild-up that fools people into seeing redeeming graces gets a publicity dress, Marcello Mastroianni...
...glossy magazines have run photo-features on Victim, so anyone who misses it is bound to feel as left out as he would having missed Cleopatra. Ironically, the reason the film gets so much coverage helps explain its mediocrity: it does abstract colorfully into journalism; it's apt to sound good on paper, which must be why it got produced...
...plot sounds neat in a couple of sentences. We're in the twenty-first century (as Victim thuds dully onto the science-fiction bandwagon), and there's an international murder tournament called "The Hunt," government-run to sap the aggressions of potential war-mongeers. Anyone who survives ten hunts becomes a "decathlon" and retires with a lush government pension...
Unfortunately this plot can't be amplified or varied enough to sustain interest more than about fifteen minutes. Watching Victim is like trying to watch daytime TV stunt shows for a week...
...central implication of The Hunt is tediously obvious from the opening shot of luscious Ursula Andress ducking bullets: what if a Hunter falls in love with his official Victim? Every hack science-fiction film I've seen since the 50-Foot Woman has provided less predictable dilemmas...