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Plot: primeval colossus wreaks havoc upon metropolitan Toronto…

When Dino de Laurentiis released his 1976 remake of King Kong (1933) its impact was profound and immediate. England has responded to Japan’s allegory for certain nuclear annihilation Godzilla (1954) with its own amiable big monster epic in the form of Gorgo (1961) and Denmark had done the same with the Ib Melchior penned Reptilicus (1961) as had South Korea with Yongary, Monster from the Deep (1967). Usually these big monster romps acted as a metaphor (or stand-in) for the supposedly malefic influence of foreign nations or whatever the threat of the day, whether they be nuclear or anti-capitalist in nature, happened to be. Yeti, Giant of the Twentieth Century (released back at home in Italy as Yeti, il gigante del ventesimo secolo and for once accurately translated for the international market) is mostly remembered for not being remembered at all. Both an anomaly in the career of director Gianfranco Parolini and leading star Antonella Interlenghi Yeti, Giant of the Twentieth Century is Italian pulp filmed in Canada for the international market. The most memorable thing about Yeti, Giant of the Twentieth Century is that they were able to get away with using a folk rendition of ‘O Fortuna’ from Carl Orff’s Carmina Burana as the main theme.

For director Gianfranco Parolini Yeti, Giant of the Twentieth Century was something else. As a specialist of spaghetti western, peplum, krimi and Eurowar Parolini etched his name into annals of cult cinema history with the five-part Kommissar X (1966-1968) saga, 3 Supermen (1967) and the Sabata (1968-1971) trilogy. Alleged Yeti sightings and sensationalist newspaper articles had been making the rounds since the 1920s and intensified during the mid-fifties. The simian-like creature purported to inhabit the Himalayan mountain range in Asia spoke to the imagination of everyone. Spanish horror pillar Paul Naschy even had an El Hombre Lobo episode where his Waldemar Daninsky faced off against the Abominable Snowman with The Werewolf and the Yeti (1975). Also not unimportant was that the Dino de Laurentiis produced John Guillermin directed remake did big business at the Italian box office. Parolini envisioned a low budget imitation with the working title Yeti Big Foot that was meant to catapult him into the mainstream. De Laurentiis had the means to afford special effects master Carlo Rambaldi whereas producers Nicolò Pomilia and Wolfranco Coccia had to content themselves with Germano Natali, Augusto Possanza, and Fabio Traversari for Parolini’s Yeti feature. Some controversy arose when writer Giorgio Moser (who was attached, or at least in run, to write the proposed de Laurentiis Yeti feature) claimed that Parolini had stolen his idea after talking to him for months on the Yeti. As these things tend to go the case was settled in court and de Laurentiis shelved his plans for a Yeti monster romp. This is probably the only big monster movie where the Yeti looks like Barry Gibb from the Bee Gees on a peculiar rough morning. And what better excuse to suffer through this than the always ravishing Antonella Interlenghi?

When a tsunami shakes the Arctic bringing to surface the only known and living specimen of the Yeti encased in a block of ice Canadian industrialist Morgan Hunnicut (Edoardo Faieta, as Eddy Fay) sees it as an opportunity to diversify the products and services of his multi-faceted business empire. He lures away his paleontologist friend Prof. Henry Wassermann (John Stacy) from whatever retirement he had planned with promises of immeasurable fame and fortune. The frozen colossus is flown to Toronto where he’s to be thawed by Hunnicut employees and scientists. Among the spectators are Hunnicut’s orphaned nephews, nubile Jane (Antonella Interlenghi, as Phoenix Grant) and mute Herbie (Matteo Zoffoli, as jim Sullivan) as well as ambitious and cutthroat Hunnicut underling Cliff Chandler (Luciano Stella, as Tony Kendall). Once thawed Hunnicut scientists rush to study the creature as Morgan intends to bombard it to the company mascot to commodify it as product and maximize profit. The Yeti (Mimmo Crao) takes a liking to young and desirable Jane and the plight of little Herbie and an unlikely friendship between the creature and the kids is formed. Things go haywire when Chandler tries to take advantage of Jane and the Yeti wreaks havoc upon the Hunnicut conglomerate and metropolitan Toronto in retaliation.

Antonella was (and is) the daughter of Franco Interlenghi, the romantic leading man of Neopolitan cinema and one-time rival of Marcello Mastrioanni. Unlike Mastrioanni, Interlenghi never was able to build a career internationally. Around these parts Interlenghi the elder is mostly remembered for his appearance in Tinto Brass’ ode to Serena Grandi‘s formidable form (but mostly her massive ass) Miranda (1985). Interlenghi the fairer had a modest if quaint theatrical triple-decade career that spanned continents, budgets, and genres taking her across Italy, Spain, México and France and saw her working with directors such as José Bénazéraf, René Cardona, Jr, Lucio Fulci, and Carlo Vanzina. Her arrival in 1977 heralded the end of the doe-eyed, innocuous starlet made iconic by the likes of Femi Benussi, Agostina Belli, Laura Antonelli and Barbara Magnolfi as well as minor goddesses as Jenny Tamburi, Daniela Giordano, and Sonia Viviani. While la Antonella could be seen in everything from Mexican thriller Panic Dealers (1980) to lighthearted comedies as Christmas Vacation (1983) and Vacation in America (1984) (widely regarded as the first Italian chick flick) she forever etched her name into our black heart in her mostly decorative role as the doomed Emily Robbins in the Lucio Fulci gore epic City of the Living Dead (1980).

As for the rest of the cast, that isn’t too shabby either with Parolini regulars Tony Kendall, Aldo Canti, and Giuseppe Mattei as well as reliable second stringers as Donald O'Brien, Stelio Candelli, and Claudio Zucchet in prominent supporting roles. Kendall was active in Italy as well as Spain and could be seen in The Whip and the Body (1963), Siege of Terror (1972), Crucified Girls of San Ramon (1973), The Loreley's Grasp (1973), The Off-Road Girl (1973) as well as the second Blind Dead episode Attack of the Blind Dead (1973). Candelli debuted in The Nights of Lucretia Borgia (1959) and from there appeared in a number of Italian cult classics as well as not-so-classic exploits including, but not limited to, Mario Bava’s hallmark science fiction epic Planet Of the Vampires (1965), Luigi Batzella's psychotronic gothic horror masterpiece Nude For Satan (1974) and during the eighties he was in Luigi Cozzi’s equally delirious Hercules (1983) and Lamberto Bava’s Demons (1985). Zucchet was a stuntman who occasionally acted. His many credits include, among many others, Malabimba, That Malicious Whore (1978), Star Odyssey (1979), The Beast In Space (1980) and Burial Ground (1981). Donald O’Brien came out of spaghetti western and Eurowar but found steady employment in sleaze of various stripe including, but not limited to, Sex Of the Witch (1973), Images In a Convent (1979), Emanuelle and the Last Cannibals (1979), Zombie Holocaust (1980), Warriors of the Year 2072 (1984), and the The Terminator (1984) imitation Hands Of Steel (1986). The real showstoppers, however, are not so much the talent in front of the camera but the special effects by Germano Natali and Ermando Biamonte and their men of the hour Augusto Possanza and Fabio Traversari.

Over the years Yeti, Giant of the Twentieth Century has caught an incredible amount of flak for its primitive, rudimentary effects work. It’s de rigueur for critics to pile on Natali and Biamonte but considering the time, place, and budget this was made on – are they really that worthy of derision? Well, no. Sure, nobody is going to confuse Germano Natali with Carlo Rambaldi, Antonio Molina, Giannetto De Rossi or, say, Maurizio Trani but the blue screen composition, the animatronics, forced perspective as well as miniatures and models are not nearly as terrible as they are often made out to be. In truth Yeti, Giant of the Twentieth Century is far from the worst offender on that front. Which doesn’t take away from how charming the effects are in their primitiveness. Compare Natali’s work to that of Aldo Frollini in Alfonso Brescia’s infamous space opera quadrilogy following Star Wars (1977) or South Korea’s APE (1976) and witness how truly abysmal special effects can get. While nobody is going to mistake Yeti, Giant of the Twentieth Century for a Hollywood production there’s something about it that makes it surprisingly endearing, either in its naiveté or otherwise. Whatever the case Hong Kong did the whole big monster bonanza plain better with The Mighty Peking Man (1977) (which at least had the decency of putting Evelyn Kraft in a tiny fur bikini). And as beautiful as Kraft was, la bella Antonella was in a class all her own.

Let’s not mince words here. Gianfranco Parolini was a director in the twilight of his career. It speaks to his level of delusion that he convinced himself (and tried to convince others) that Yeti, Giant of the Twentieth Century would catapult him into Hollywood. Nothing could be further from the truth. His next (and final) directorial effort would only arrive a full decade later in the form of the Raiders Of the Lost Ark (1981) informed jungle adventure The Secret of the Incas' Empire (1987). It’s not the kind of end to wish upon anybody, especially not someone like Parolini who arguably had a classic or two to his name. Likewise it’s a small miracle that Antonella Interlenghi was able to get away from this unscathed and build a modest but respectable career for herself. Most surprisingly does Yeti, Giant of the Twentieth Century not only boast la Antonella but also pushes an admirable anti-capitalist, environmentalist message that’s absolutely germane to Italian productions of this decade. In the decade of garish excess, in the decade of the giallo and gothic horror revivalism here was a family movie (or at least something aimed squarely at a younger audience) offering a voice of dissent. If for nothing else (except la Antonella) Yeti, Giant of the Twentieth Century should be considered a classic. Thankfully, Antonella would go on to bigger and better things.

Plot: bored socialites screw themselves, and others, over on opulent yacht.

The abolition of the Hays Code in 1968 finally allowed American filmmakers to capitalize on the Sexual Revolution that was taking place in various places around the world. No longer restricted by its stifling regulations and free of its rigorous censoring directors could finally push the envelope in a more liberated fashion. In parallel movement erotic cinema surged in Canada thanks to Danielle Ouimet and her fellow stars of Maplesyrup porn (which is something of a misnomer as many productions of the cycle were soft erotic movies by and large) and the commedia sexy all'italiana turning up the heat in view of the more looser societal norms.

Leading the charge in terms of sexual liberation and gratuitous display of skin was Top Sensation (released in North America as The Seducers through Jerry Gross' Cinemation Industries), a thriller mostly remembered for being the only thriller, or early giallo, to pair together Rosalba Neri and Edwige Fenech, two of Italy's most desirable exploitation starlets. In a number of ways Top Sensation laid the groundwork for Nico Mastorakis’ deeply cynical Hellenic proto-slasher Island Of Death (1976). Dismissed on release as an exercise in pulp and tedium Top Sensation has since garnered the reputation of something of a cult favorite. Its formula proved strong enough that it even spawned one or two imitations of it own. Not bad for a movie about a bunch of unlikeable, bored rich people.

Ottavio Alessi had been second unit directing in various capacity since 1940, so it seems only logical that he would eventually ascent to the director’s chair to helm his own features. His only directing credit prior to Top Sensation was the Totò comedy What Ever Happened to Baby Totò? (1964). Handling second unit direction for the production was Rosalba Neri, who had over a decade of experience in front of the camera by that point. Based upon his earlier writing, and the decadence that would give Top Sensation its repute, Alessi was hired to co-write the screenplay for The Snake God (1970) with Nadia Cassini and to later provide the story for the Joe D’Amato directed Black Emanuelle installments Emanuelle Nera: Orient Reportage (1976), and Emanuelle in America (1977).

Top Sensation takes the central premise of Roman Polanski’s Knife in the Water (1962), one part of Michelangelo Antonioni’s L’Avventura (1960), and spices it up with a healthy dose of Mediterreanean eroticism. Directed by screenwriter Ottavio Alessi Top Sensation works despite its minuscule budget and solitary location. In fact Top Sensation spawned imitations of its own with Giuliano Biagetti’s Interrabang (1969), with Haydée Politoff, and Ruggero Deodato’s Waves Of Lust (1975) with Deodato’s wife-to-be Silvia Dionisio in what looked like a constant state of undress. Not that Top Sensation is in any way lacking in terms of bare skin and nudity on display. Capitalizing on the nascent pin-up culture Top Sensation puts its two leading ladies in the skimpiest of bikinis, and more often than not, out of them.

Central to the plot of Top Sensation is middle-aged oil heiress Mudy (Maud Belleroche, as Maud De Belleroche), a jetset socialite, who has taken her mentally challenged, socially stunted son Tony (Ruggero Miti) on a boating trip on her yacht. Tony lives isolated in his bunk and enjoys nothing more than playing with his toy cars, and starting the occassional fire. Invited along for the trip are the stunning Paola (Rosalba Neri) and Aldo (Maurizio Bonuglia), a young couple whose frolicking she hopes will spark the flame of sexual desire in Tony. Also on the yacht is Ulla (Edwige Fenech), a high-class escort, to ensure that Tony's first sexual experience is worth treasuring. To its credit the screenplay keeps how Mudy came into her fortune - whether she amassed it herself, or plainly married into it - rather vague. Circling around Mudy like vultures are Paola and Aldo, an upper-class gold-digging young couple, who take turns seducing the seemingly always cranky Mudy. Ulla partakes in the scheme but for entirely different reasons than Paola and Aldo. When the boat experiences technical problems near an island, and Tony takes a liking to naive, world-strange goat herder Beba (Eva Thulin, as Ewa Thulin) things go haywire when her husband Andro (Salvatore Puntillo) gets wind of the situation…

Rosalba Neri and Edwige Fenech spent most of their screentime in the skimpiest of bikinis, and about as much time out of them. Both women are highly sexual, and completely sexualized. In its defense at least Top Sensation makes no qualms or excuses about the fact. Early on Paola and Ulla notice Andro spying on them from the foliage. “God, I wish he'd move into the open more,” Ulla muses, “he ought to be hard by now” Paola notes in a near-porn exchange. The two girls lure him out by taking their tops off and oiling each other on the deck with sunscreen. When the boat first experiences trouble, Tony disappears and is seen on the nearest island. Aldo and Ulla volunteer to search the shore and return the young boy. At one point Ulla, wearing nothing more than a captain’s hat and a white shirt, runs into a wandering goat nearby Beba’s farm, something which greatly excites her. Aroused by the farm animal she spills out her left breast - which the goat happily indulges in suckling with reckless abandon - as the goat makes its way down she allows herself to be orally pleasured by the animal. Aldo, enthused at the shore-bound vista, wastes no time in documenting the salacious happening with a photocamera he brought along for the trip. Later on the boat Paola and Ulla ravage Beba by feeding her alcohol, and the two are only stopped when Mudy barges in on the lower deck.

The stars of Top Sensation are Rosalba Neri, at the height of desirability at 31, and Edwige Fenech, a freshfaced 21 year old model-turned-actress from France. Neri was regular in peplum, spaghetti western, Eurospy adventures and comedies throughout most of the sixties. Rosalba had also partaken in several Jess Franco productions by that point, back when doing so wasn't considered a surefire way to either sabotage, or end, one's career in the cinematic arts. Top Sensation marked Neri's trajectory towards more risqué productions. Not only did she direct second unit but also ensured that she looks amazing for the entirety of the production. In the seventies Neri would figure into, among others, The Beast Kills In Cold Blood (1971), Lady Frankenstein (1971), The French Sex Murders (1972) (an all-star giallo with Anita Ekberg, Barbara Bouchet and Evelyne Kraft), and The Devil's Wedding Night (1973). Even though Neri was anywhere and everywhere in the 1970s she never truly established herself as a leading lady, much in the same way as her contemporaries Paola Tedesco and Rita Calderoni. In short, Top Sensation is sensational and quintessential viewing for Rosalba Neri completists/fanatics.

In more ways than one Top Sensation was a career-defining performance from the nubile Edwige Fenech. Fenech owned much, if not all, of her acting career to director Sergio Martino. After Edwige's appearance in Mario Bava’s 5 Dolls For An August Moon (1970) Martino directed her in The Strange Vice Of Mrs. Wardh (1971) and All Colors Of the Dark (1972). The only thing of note that Fenech had done prior to Top Sensation was the amiable adventure Samao, Queen Of the Jungle (1968) along with that other famous comedic star of the 1970s, Femi Benussi. Thanks to her work in giallo with Sergio Martino, Fenech would establish herself as the royalty of domestic exploitation. In the following decade Edwige would make her return to the commedia sexy all'italiana where she originally found her footing. Like her co-star Rosalba Neri, Edwige Fenech doesn't shy from the near-constant or partial nudity that her role requires. She seems to be having a blast.

Top Sensation was the only acting credit for Maud Belleroche and the screen debut for Eva Thulin whose career lasted a brief two years and encompasses a total of four movies. Maud de Belleroche is a Baroness from the exclusive 17th arrondissement of Paris, France who gained some repute and infamy as a writer, journalist and sympathizer to the Collaboration. As a student she was the mistress of Jean Luchaire and eventually followed her second husband Georges Guilbaud in exile to Germany, Italy, Spain and Argentina. De Belleroche was a decorated sportswoman (French junior ice skating champion, French record-holder scuba-diving) and gifted orator for Amis de Versailles, Amis des Châteaux de la Loire, Alliance Française, Connaissance du monde. She published various book under the alias Sacquard de Belleroche and won the Prix ​​Broquette-Gonin of literature of the French Academy in 1963 for Five Characters in search of Emperor. Her memoire The Ordinatrice from 1968 was so popular that it warranted a follow-up a few years down the line. Ruggero Miti - whose acting career lasted from 1966 to 1972, and whose only other credit of note is La Rivoluzione Sessuale (1968) with commedia sexy all-italiana queen Laura Antonelli - has the look of a 1970s Milo Ventimiglia or rather a fairly standard 1970s Italian pretty boy.

There's plenty of the naked female form to be had in Top Sensation, but it is custodian to quite some rich subtext beyond the superficiality of the premise. First and foremost, Top Sensation is about corruption: the corruption of wealth, the corruption of innocence and its brazen transgressive sexual politics qualify it as a giallo. Every character, Beba excepted, is thoroughly reprehensible. Paola and Aldo are two bored upper-class yuppies, with Paola being a bisexual nymphomaniac to boot. Ulla is a first-class opportunist who will jump at every chance if it involves personal enrichment. Mudy is high-strung, bossy, and abusive to anyone in her vicinity, not only Tony. At one point she encourages Beba, battered once more by her inebriated peasant of a husband, to cast off the shackles of the subservient, submissive housewife role she has assumed. However, none of it is genuine, as Mudy only does so as a way of extorting money from Andro via Beba. In other words, every single person, with exception of Beba, on the boat is thoroughly corrupted by greed, jealousy, and emotionally manipulative in the worst of ways.

Bored with their wealth and bored with their lives the socialites on the yacht will stop at nothing to screw over someone, anyone, everyone if it helps in their personal enrichment. Paola and Aldo are hired by Mudy to get Tony interested in the fairer sex, but that doesn't stop the two from trying to seduce Mudy at various points. Paola only shows interest in Beba once it's clear that Tony cares for her. In the ultimate act of corruption Paola and Ulla feed Beba alcohol which leads into a memorable girl-on-girl three-way that makes Paola's sapphic liaison with Mudy pale in comparison. By proxy Ulla is the least morally bankrupt of the socialites as she's merely there on a contractual basis, although that doesn't make her any less culpable in what ultimately transpires. Top Sensation is transgressive and risqué at various points but it never quite develops into something that really pushes the envelope. It's the old warhorse: the decadent ruling class feeding on the proletariat.

Concluded by a quote from Ecclesiastes in hopes of redeeming itself Top Sensation manages to do a lot with very little. With only a single location at its disposal the premise hinges on how well the dialog is able to sell the characters. Terrible English dubbing notwithstanding every actor gives his or her all to the characters. Rosalba Neri and Edwige Fenech are a delight as a duo of nymphomaniac sex kittens that struggle to keep their clothes on, Maurizio Bonuglia revels in playing a sleazebag, whereas Eva Thulin shines as the innocent shepherd girl. Salvatore Puntillo enjoys the role of the somewhat dimwitted peasant, but in return is allowed to rub closely to both Neri and Fenech. Ruggero Miti is at his best in the scenes with Thulin, but his character is not nearly inculpable in the events that unfold. For a production as impoverished Top Sensation is a scathing indictment of the upper-class and reveals some surprising subtextual depth next to its rampant and near-constant showcasing of its generously formed and seldom clothed female lead duo.