I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

This is a dark and sometimes deeply uncomfortable drama

Worth seeing just to witness how winsome it is.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Enjoyable and Scenic view of San Francisco of 1969. Good music and acting. The story may have needed more work.The copy that I viewed was from youtube, washed out and distorted video, the audio and music was fine. I must have lost something in from the Italian to English translation, and the bad video did not help. However, it was enjoyable to watch. The story seemed to need more work. I don't know who's dead body was in the morgue, was that the nurse assigned to watch over the wife, I don't know.Filmed well, and the scenes of 1969 San Francisco along with the music are worth the admission. I'd like to watch a clean copy of this someday.Rating is a B-/C, 6 stars.

While my preference in Giallo films lies in the ones that play out in a more Horror or Gothic kind of way, One On Top Of The Other (Perversion Story) sits at the other end of the spectrum which is more of a Crime Detective Thriller. So no groovy music. No trippy scenes. No creepy castle. No grisly murders. However the convoluted plot and naked boobs are both present. Jean Sorel and Marissa Mell are both great but this is my least favorite film I've seen either in so far. Nothing new plotwise: dead spouse, extramarital affairs, insurance policy, brown trenchcoat wearing detective ... zzzzzzz ... Somebody put some cheese on this salt-free stale cracker! Where's Sergio Martino when you need him?

I must admit that I do not care for the films of Lucio Fulci - his horror films are filled with repulsive gore and devoid of intelligence, and his gialli (murder mysteries) are better but filled with unnecessary perversion and debauchery - so suffice to say I was apprehensive when viewing this giallo by the "godfather of gore". To my surprise, I actually enjoyed this quite a bit.Admittedly, there was the unnecessary nudity that littered the film, but luckily it was neither maliciously exploitative (instead, it was tastefully done) nor was it overwhelming in content (most of it is localized only in a few key scenes in the beginning of the film).However, the factor that truly made the film work was its focus upon its narrative rather than attempting to provide cheap thrills (as Fulci often does). The plot is obviously borrowed from "Vertigo" but not to the degree that I would call it a blatant rip-off (like Brian DePalma's "Obsession" was) as it had its own unique twists and turns to the proceedings. It does seem to plod somewhat in its initial reels as it focused on the lavish lifestyles of a stripper and a photography model, but once the twists begin at the half-way point the viewer's interest is perked and it manages to hold onto it until the end.The direction is surprisingly subtle and aesthetic for a Fulci film, focusing upon images of mirrors and reflections on glass windows the reflect upon the duality of the characters (each often have two sides to their beings, such as the doctor who is married but is having an affair, but also the fact that the doctor believes his wife has a doppelganger).I wouldn't necessarily recommend this film to many as its material is lurid (despite Fulci's admirable restraint), and the plot isn't anything unique, but it's all done in a very sufficient and stylish manner with just enough intelligence to make it a pleasant watch. Recommended for giallo fans, a slight recommendation to mystery/thriller aficionados, but others not really interested in the genre should just watch Hitchcock's "Vertigo" again.

Lucio Fulci may be best known for his zombie splatter-fests and that's a shame because he's really so much more than that. If you see the name Fulci and expect a gore-fest, you'll be disappointed. This one is even more bloodless than his other Gialli. But if you want a solid Italian thriller, you've discovered a real winner. I have no reservations about placing One on Top of the Other near the top of the list of the 60-odd Gialli I've seen. One on Top of the Other actually features very few, if any, horror elements. Instead, the movie focuses on two of the other Giallo trademarks – sleaze and mystery. And Fulci does a fantastic job with both. As for the sleaze, there's probably more nudity and sex in this movie than in Fulci's A Lizard in a Woman's Skin and Don't Torture a Duckling combined. As for the mystery elements, Fulci fills the film with enough red herrings and other mystery tricks for two or three movies. I was completely engrossed and entertained form the opening credits. Solid cinematography, nice San Francisco locations, an outstanding Riz Ortolani score, above average acting, and Marisa Mell make One on Top of the Other a new favorite of mine.My only complaint (and it is admittedly a small one) is the amount of screen time showing the film's protagonist sitting on death row waiting to die. A little tighter editing during this 10 or so minute segment might have helped make One on Top of the Other the best Giallo I've ever seen.I mentioned Marisa Mell in the opening paragraph and if you're a fan, you owe it to yourself to track down a copy of One on Top of the Other. She never looked better and I've never seen so much of her. Her motorcycle striptease scene is worth the price of admission. Check it out! Come on, Anchor Bay – give us that Region 1 release!