According to film lore, actor Marcello Mastroianni was so impressed with a short-story by science-fiction author Robert Sheckley that he sent it to director Elio Petri. The result was a groundbreaking Italian film that alternately shocked and amused audiences of 1965--and which, like the 1976 NETWORK, proved prophetic re the rise of "reality television." Set in a future imagined in terms of minimalist 1960s fashion and design movements, THE 10TH VICTIM (LA DECIMA VITTIMA) presents us with a world that has sublimated the human race's hunger for violence into a game known as "The Big Hunt." Register as a member and you become predator and prey, with each player seeking to survive while killing ten others in order to win fame, fortune, and national acclaim.
American Caroline Meredith (Ursla Andress) is particularly celebrated and--after dispatching her ninth victim via her boobytrapped bra--is eager to win the grand prize by taking out her tenth: Italian Marcello Polletti (Marcello Mastroianni.) But an advertiser promises her even bigger bucks if she can turn it into a television ad for his product, creating a situation in which Caroline cannot simply kill Marcello at will: she must do it at a particular place and time where the cameras will be rolling.
In order to accomplish this, Caroline decides to seduce Marcello with both her body and the lure of cash--which he badly needs--for a television interview. Marcello is no fool, and even as Caroline plans to blow his head off for benefit of television he's signing his own advertising deal to accomplish her death by crocodile. But there's a further complication: even as they attempt to maneuver each other into death, they also unwillingly fall in love.
THE 10TH VICTIM was extremely celebrated in 1965; today, however, it reads as slightly thin. We've become used to the idea of people who are willing to do just about anything on television, and the idea of murder by game show isn't nearly so far-fetched as it used to be. The film scores, however, in its specific ideas, which range from exploding boots to a government that occasionally switches out your apartment's furniture whether you like it or not. The DVD transfer is quite nice, but bonuses are limited to cast notes and the theatrical trailer. Recommended, but mainly for fans of 1960s futurism who haven't lost their sense of humor! GFT, Amazon Reviewer
American Caroline Meredith (Ursla Andress) is particularly celebrated and--after dispatching her ninth victim via her boobytrapped bra--is eager to win the grand prize by taking out her tenth: Italian Marcello Polletti (Marcello Mastroianni.) But an advertiser promises her even bigger bucks if she can turn it into a television ad for his product, creating a situation in which Caroline cannot simply kill Marcello at will: she must do it at a particular place and time where the cameras will be rolling.
In order to accomplish this, Caroline decides to seduce Marcello with both her body and the lure of cash--which he badly needs--for a television interview. Marcello is no fool, and even as Caroline plans to blow his head off for benefit of television he's signing his own advertising deal to accomplish her death by crocodile. But there's a further complication: even as they attempt to maneuver each other into death, they also unwillingly fall in love.
THE 10TH VICTIM was extremely celebrated in 1965; today, however, it reads as slightly thin. We've become used to the idea of people who are willing to do just about anything on television, and the idea of murder by game show isn't nearly so far-fetched as it used to be. The film scores, however, in its specific ideas, which range from exploding boots to a government that occasionally switches out your apartment's furniture whether you like it or not. The DVD transfer is quite nice, but bonuses are limited to cast notes and the theatrical trailer. Recommended, but mainly for fans of 1960s futurism who haven't lost their sense of humor! GFT, Amazon Reviewer