To me, this movie is perfection.

the audience applauded

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

This film doesn't come off entirely what it sets off to do. Moriarty in two brother roles, shows us what a fine actor he is. It's good Moriarty versus Moriarty, where good Moriarty's life, is becoming a living hell, thanks to his Siamese twin brother, who's fortunately a psychotic, who's committed a sting of brutal murders, one not so brutal, involving punching an ex boxing star (lovable veteran actor Cameron Mitchell). Bad Moriarty is parading as good Moriarty doctor, which he isn't as it isn't helping his good brother's chances, when the cops get hold of him. When growing up, our psychotic one wasn't given the same love and attention, as the good one, hence, part of his reasons for becoming a knife thrashing lunatic. His good brother has it all, successful, likable, and a really nice piece of female a..e The ain't half bad film offers some nice servings of nudity and some nice slappings of venesection (gore) and Moriarty, who's acting presence is always something viewable, especially after seeing in Q. The problems with the film, overall, I felt, were there were a few stops, a little dullness, and not enough story poured into what is otherwise, an interesting film, that really doesn't really fall above the ranks of average.

Doctor Craig Mannings is having visions where he sees himself killing women, but he slowly realises he's actually seeing through the eyes of a killer. What happens to be link? Low-budget psychotic thriller (with a touch of Giallo) that's bizarre and seedy, but not in an exploitative sense… favouring European atmospherics and erotica than all-out crass and graphic exploitation. That's not say there aren't any sleazy and trash elements, but there's a certain style and chic to the production that lifts it up a notch. One thing that sticks with you is Ennio Morricone's layered music score. Emotional, simmering and truly unsettling. This complements Michael Moriarty's dual performance of two extremes. This two-sided turn is a magnificent blend of confidently underplayed and insanely creepy. Moriarty is a joy to watch, especially when he comes face to face with himself. This is where the tension arises, as a viewer we know what might happen while the characters are playing the chase up game. Moriarty playing the evil twin role simply got under my skin and the acts of violence handed out by this character are merciless. The twist when it comes is nightmarish, but the ending paints a very haunting suggestion that gives the film an effective sting because of its convincing performances. Nice touches by director Albert De Martino. Writing-wise there can be some inconsistent patterns (mainly past developments and character motivations), but it feels more like a mood piece with our two central characters (Moriarty superbly at work) interacting. One wanting to help, while the other wants no such thing. There's real solid support by Penelope Milford (who's fantastic in the very final scene), Geraldine Fitzgerald and quick cameo part for Cameron Mitchell.

Dr. Craig Mannings (Michael Moriarty) believes he has discovered a revolutionary psychology technique and has been using himself as the guinea pig. Unfortunately, these experiments allow Mannings to see through the eyes of someone else and that person is murdering folks. Turns out he is seeing through the eyes of Keith (Moriarty again), his Siamese twin that Craig believed was dead. Using clues from his visions, Craig tracks Keith to Germany but soon finds out that his brother wants him there to create the perfect patsy for his crimes.Alberto De Martino directed this Italian/German co-production. While you won't get anything original with the plot of normal twin/evil twin, it is worth seeing solely for the performances by Moriarty. Moriarty has the "normal" sibling as slightly odd, while the "evil" one is like he is playing Klaus Kinski on a good day. The scenes of them interacting are particularly enjoyable. Also worth mentioning is a scene where the evil Keith gleefully punches an aging boxer (Cameron Mitchell) - who just happened to have been treated by Craig in the States - to death in a park. Moriarty is clearly having fun throughout the picture (or is slightly intoxicated). Sadly, the rest of the film isn't up to the level of Moriarty's enthusiasm. De Martino reveals the twin twist way too early and with all the dazzle of a kid's party magician. Also, the plot is full of holes and silly coincidences (odds of your unknown twin running into a patient you treated in a cafe in Germany?) that, at times, make you feel like a reel was left out. The ending - where Craig's woman is in danger - could have been a suspenseful game of cat-and-mouse but unfolds with a thud. On the plus side, there is some nice location work in Berlin and a nice Morricone score.

This obscure Italian film – made in the English language – mixes typical elements of the giallo with a few sci-fi trappings, and adds to them a doppelganger theme. Incidentally, given that it deals with Siamese twins who haven't been in contact for years but are able to 'see' what one another is doing, it somehow feels like the long-lost sibling of two Brian De Palma films itself – coming, as it does, in between his SISTERS (1973) and RAISING CAIN (1992)! Anyway, it's mildly interesting (even more so for me, being a twin myself!), good-looking (the film was shot in the U.S. and Germany) and features an understated Ennio Morricone score – but, in the long run, emerges as nothing especially remarkable. Besides, even if the supporting cast is decked out with veteran presences – Geraldine Fitzgerald, Virginia McKenna and Cameron Mitchell – they're all basically wasted (McKenna, for instance, is already dead within the first 5 minutes!).The lead is played by Michael Moriarty, an actor noted for his intense performances – and, here, we get double the dose (with the star, predictably, hamming it up particularly in his serial-killer characterization)! However, he's flanked by two lovely ladies whose contribution is above-average for this sort of thing – Penelope Milford (ex-Oscar nominee for COMING HOME [1978]!) as the good Moriarty's girlfriend and Sarah Langenfeld (in one of only 4 films she did) as the daughter of has-been prizefighter Mitchell, whose cold-blooded murder at the hands of the bad Moriarty she witnesses. By the way, the film features a surprising amount of nudity (by the two girls and others) – but it's not done in an overly sleazy or exploitative manner.The 'face/off' situations between the two brothers provide the expected fireworks; the climax, then, sees Milford distracting the villainous (and impotent) Moriarty by letting him rape her – thus enabling the police to track him down through his brother's ability to recognize the surroundings! This is followed, however, by a far-fetched CARRIE (1976)-like twist set in the city morgue...but which leads to an effectively unsettling 'curtain' where Milford is literally unable to tell which brother she's ended up with! P.S. If all goes well, I should be getting to another of De Martino's horror films – HOLOCAUST 2000 (1977) – in the near future, which is one I've missed out on numerous times in the past...