So Sweet... So Perverse backdrop
So Sweet... So Perverse logo
1969·Thriller·1h 29m
7.1
An industrialist's affair with a troubled woman entangles him in a dangerous situation with her abusive boyfriend. His glamorous life spirals into unexpected peril.
Directed by Umberto Lenzi

Cast

Carroll Baker
Carroll Baker
Nicole Perrier
Jean-Louis Trintignant
Jean-Louis Trintignant
Jean Reynaud
Erika Blanc
Erika Blanc
Danielle Reynaud
Horst Frank
Horst Frank
Klaus
Helga Liné
Helga Liné
Helene Valmont
Giovanni Di Benedetto
Giovanni Di Benedetto
Monsieur Valmont
Dario Michaelis
Dario Michaelis
Police Commissioner
Renato Pinciroli
Renato Pinciroli
Porter
Gianni Pulone
Gianni Pulone
Press Photographer
Beryl Cunningham
Beryl Cunningham
Black Stripper
Marcello Bonini Olas
Marcello Bonini Olas
Party Guest (uncredited)
Alessandro Tedeschi
Alessandro Tedeschi
Uomo Della Commissione (uncredited)

Crew

Umberto Lenzi
Umberto Lenzi
Director
Ernesto Gastaldi
Ernesto Gastaldi
Screenplay
Eugenio Alabiso
Eugenio Alabiso
Editor
Sergio Martino
Sergio Martino
Executive Producer
Mino Loy
Mino Loy
Producer
Luciano Martino
Luciano Martino
Producer
Luciano Martino
Luciano Martino
Story
Riz Ortolani
Riz Ortolani
Music

Popular Reviews

3 reviews
laurel
laurel
So Sweet... So Perverse
So Sweet…So Perverse doesn’t really pick up until the last 30 min (the first hour genuinely feels like you’re watching paint dry). When the paint finally does dry, and the full image of the film is revealed, the once-white canvas finally gains a few drops of carefully placed blood, though they’re at the expense of a lesbian who’s been betrayed by her lover that ditched her for a man, which turns out to be the saddest and scariest part of all.

Stray thoughts: I swear to you Caroll Baker’s bathing suit is the exact same one Jane Birkin wears in La Piscine and both these films came out the same year, so I think the math is checking out.
So Sweet…So Perverse doesn’t really pick up until the last 30 min (the first hour genuinely feels like you’re watching paint dry). When the paint finally does dry, and the full image of the film is revealed, the once-white canvas finally gains a few drops of carefully placed blood, though they’re at the expense of a lesbian who’s been betrayed by her lover that ditched her for a man, which turns out to be the saddest and scariest part of all.

Stray thoughts: I swear to you Caroll Baker’s bathing suit is the exact same one Jane Birkin wears in La Piscine and both these films came out the same year, so I think the math is checking out.
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Syd
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