“Who is the sister of Ursula? A nymphomaniac? A girl without scruples?” – trailer.
Yep, it’s giallo time again… these violent Italian whodunnits are frequently praised for their sexy stylishness but there exists within the genre a grotty ghetto of grubby ghastliness. Prime specimens within this sweaty sub-genre include Andrea Bianchi’s Strip Nude For Your Killer / Nude Per L’Assassino (1975… who could forget the spectacle of that obese dude in his Bridget Jones pants? Christ knows how hard I’ve tried!), Mario Landi’s 1979 effort Thrilling In Venice / Giallo A Venezia (whose unwholesome ingredients include a porn-obsessed dope fiend pimping his girlfriend out to random deviants, an obsessive stalker armed with power tools and a boiled eggs-addicted cop) and Mario Gariazzo’s Play Motel (also 1979 and packing any amount of risible “kinkiness”). All of these hail from the fag-end of the cycle and pack ever-increasing dollops of sleazy sexploitation in lieu of any trace of that all important giallo style.
To this roll of dishonour we must also add Enzo Milioni’s The Sister Of Ursula / La Sorella Di Ursula (1978), in which two fit Austrian sisters, the demure Ursula (Barbara Magnolfi) and slutty Dagmar (Stefania D’Amario from Zombie Flesh Eaters) take a well deserved holiday on the Amalfi coast (depicted here as the Italian equivalent of Skeggy!) to ponder the division of their inheritance and rack up as many gratuitous nude scenes as possible.
Ursula, a clairvoyant given to doomy predictions, has some kind of psychic connection with her dead father. She despairs of Dagmar’s libertine lifestyle and when the latter unpacks an eye watering wooden dildo from her suitcase, Big Sis makes her disapproval quite clear: “You just came here to get shagged, you bitch!” So, it seems, have a lot of other girls who are currently stopping at the hotel (told you it was just like Skeggy) but a bunch of them start turning up dead, apparently killed (or so the shadows on their hotel room walls would have us believe) by some guy with a monstrously proportioned member.
You won’t have too much trouble working out the identity of the killer (and none at all guessing the murder weapon) but there’s plenty of other crazy shit to divert you in this reprehensible, dildotastic slice of enticing Eurotrash, e.g. nightclub chanteuse Stella Shining (below) whose risible showstopper “Eyes” keeps popping up at inappropriate points in what we’ll generously call this film’s narrative. Who, while we’re at it, ever thought that the equally overworked freeze fame of disembodied eyes was ever going to look anything but laughable?
Magnolfi is best remembered by Horror fans as Jessica Harper’s bitchy room-mate Olga in Dario Argento’s pasta paura tour de force Suspiria (1977) but other notable credits include Sergio Martino’s Suspicious Death Of A Minor (1975), Ruggero Deodato’s Cut And Run (1985), Luigi Pastore’s Violent Shit: The Movie (2015) and Luigi Cozzi’s Blood On Méliès Moon (2016). Her eponymous sister, Stefania D’Amario, arguably boasts an even more impressive CV, including as it does Rino Di Silvestro’s Deported Women Of The SS Special Section (1976), Borowoczyk’s Inside Convent Walls (1978), Fulci’s Zombie Flesh Eaters (1979, below), Lenzi’s Nightmare City (1980), Antonioni’s Identification Of A Woman (1982) and Lorenzo Onorati’s Caligula’s Slaves (1984).
Mark Porel – from Lucio Fulci’s Don’t Torture A Duckling (1972 ) and Sette Note In Nero (1977), also Deodato’s Live Like A Cop, Die Like A Man (1976) – was married to Magnolfi at the time, which is perhaps how he got sucked into TSOU’s pointless sub-plot about an illicit dope network… ironic, considering the circumstances of his sadly premature demise in 1983.
Porel’s history of substance abuse is frankly discussed in an interview with the film’s director, which appears on both discs. Milioni also talks about the Italian industry’s long tradition of subsidising “worthy” Arthouse efforts with the proceeds from tacky exploiters (try to guess in which category he locates The Sister Of Ursula). He reveals that he got to film for free at the cliff top hotel as its proprietors figured they’d get some free publicity for their enterprise. In fact, the hotel remains unopened to this day… the curse of Ursula’s sister continues!
Stripped of the sleazy trappings in which The Sister Of Ursula wallows, Milione’s subsequent efforts were nothing like as watchable. 1989’s Bloody Moon (not to be confused with the identically titled Jesus Franco effort) is a dull, over-talky, soap operatic effort whose fleeting moments of gore were edited, along with so much else, into Fulci’s astonishing A Cat In The Brain / Nightmare Concert (1990).