无处安身1949

　　一部全美顶级医师强烈推荐的纪录片，为你带来健康的真相：不添加额外的油、糖和盐的纯天然植物性饮食方式最有利于人体健康，不但能够预防广泛的疾病，还能逆转某些最危险的慢性疾病

“罗马妈妈”（安娜?麦兰妮 Anna Magnani 饰）将十六岁的儿子艾萄里（Ettore Garofolo 饰)从乡下接到城里，艾萄里多年不见母亲，显得害羞和沮丧。妈妈在屋里放起音乐邀请儿子一起跳探戈舞。她在城里的集市上做着蔬果的买卖，总是告诫艾萄里不要和他的狐朋狗友混在一起。艾萄里经朋友介绍喜欢上一个已经有小孩的妓女，并且卖掉妈妈的老唱片换钱给妓女买礼物。妈妈得知此事十分担心，委托好友引诱艾萄里使他忘记那个妓女，并且帮儿子找了一份工作，看着儿子日渐走上正轨，妈妈很高兴。而此时当年罗马妈妈的皮条客找到了她，用告诉艾萄里她的不堪过往来勒索钱财，罗马妈妈被迫无奈重操旧业……

刚刚出狱的中年男子，在离家多年后，重新回到了家乡，他找到了儿时的朋友，曾经的女友，多年不见的兄长，他似乎在寻找什么，结果却是一无所获，他在过去和现在之间失去了联系，他无法看到未来，他只能走在路上，直到被另一种偶然击倒在地。 　　生命或许就是如此，一直都走在路上，一直都充满偶然，犹如梦境。

Inspired by true events - Follows the story of two corrupt policemen Sammy Canzano (David Arquette) and Leo Beneti (Jeremy Luke) who committed a series of horrific assassinations and other crimes for the New York crime families in the mid-1980's to 1990's. Meanwhile, NYPD detectives Varrone (Kevin Connolly) and Delgado (Danny A Abeckaser) must carefully use their investigative ...

　　This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.
　　Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.
　　One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.