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3.2 out of 5 stars 13 customer reviews

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(Mar 21, 2000)
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Editorial Reviews


Chilly blond Mimsy Farmer is an Italian medical student who has disturbing visions of the waking dead during a rash of grotesque suicides. She works in a morgue where every living man in her orbit hits on her and one coworker even tries to rape her ("You can't blame a guy for trying. Nothing turns on a man more than an icy woman," comforts an oh-so understanding boyfriend). Barry Primus is an angry priest with a dark past and anger-management issues (he screams, "I've killed many others and I'll kill you too," while beating a man's skull into the pavement). The apparent cause of the suicide hit parade is extreme sunspot activity (each death is punctuated with fiery images of solar flares), but when victims close to Farmer start dropping from high-rise windows, the picture twists into a murder mystery with a gallery of sleazy and shady suspects. Director Armando Crispino fills in the edges with unending images of death, shocking violence, and gratuitous nudity, creating an intermittently stylish but often bluntly exploitative horror mystery. Shorn of 15 minutes when it debuted in American theaters in the mid-1970s, the sex and violence has been completely restored for video. One short scene is in Italian with English subtitles, due to missing soundtrack materials, while the rest is dubbed in English. Ennio Morricone provides a suitably strange mix of atonal stings and lovely melodies. --Sean Axmaker


"A Twisted, Unconventional Giallo Packed With Creepy Set Pieces And A Truly Novel Setting!" -- Mondo Digital

Special Features

  • The uncut, uncensored 100-minute version!
  • International The Victim Trailer and U.S. Theatrical Trailer

Product Details

  • Actors: Mimsy Farmer, Barry Primus, Ray Lovelock, Carlo Cattaneo, Angela Goodwin
  • Directors: Armando Crispino
  • Writers: Armando Crispino, Lucio Battistrada
  • Producers: Leo Pescarolo
  • Format: Anamorphic, Color, Dubbed, Widescreen, NTSC
  • Language: Italian (Dolby Digital 2.0 Stereo), English (Dolby Digital 2.0 Stereo)
  • Subtitles: English
  • Dubbed: English
  • Region: All Regions
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Starz / Anchor Bay
  • DVD Release Date: March 21, 2000
  • Run Time: 100 minutes
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (13 customer reviews)
  • ASIN: 6305797234
  • Amazon Best Sellers Rank: #299,335 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Autopsy" on IMDb

Customer Reviews

Top Customer Reviews

Format: DVD
"Autopsy - A Chilling Slab of Unspeakable Horror"
Or so we read on the box of this DVD. Of Italian origin and first released in 1973 as "Macchie Solari", Autopsy has not aged well as a horror movie. Interestingly, I believe the original title referred to suns spots, which are a recurring theme in the movie.
Autopsy starts brilliantly depicting a number of suicides that invariably end up in the autopsy room, where we meet the protagonist played by Mimsy Farmer. Mimsy is studying forensic medicine and writing a thesis on how to distinguish between real and fake suicides. Something happens and Mimsy begins to see the cadavers moving around.
After this promising opening, the movie strays away from the moving cadavers and turns into a murder mystery. A young woman that Mimsy briefly meets in her apartment is found dead in what appears to be a suicide. However, dead woman's brother (played by Barry Primus) is convinced that it was murder.
Eventually, Mimsy realizes that the dead woman's brother, who is also a priest, is correct. By then, other suicides/murders start occurring around her, and even she becomes the target of one attempt. Suddenly, she doesn't know if she can trust the priest, her father, her father's business associate, her boyfriend (who also is a target of a murder attempt) or even herself.
By now, this movie is no longer a horror film. Instead, it has become a classic who-dunnit film, with occasional sunspot flare- ups depicted a certain intervals. Surprisingly, the mystery is actually well-done. Agatha Christie couldn't have written a better murder mystery.
Why the movie was titled Autopsy in English is beyond me. Scully and Mulder (X-Files) spend more time in the morgue than do Mimsy and Barry.
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Format: VHS Tape
What appears to be marketed as an exploitation piece (the film title 'Autopsy' and video cover) is actually nothing of the sort. There are some vicious moments - but this film is actually character driven, not gore driven; in fact there is very little gore, but the story doesn't need it.
This is a well-made, suspenseful movie, with decent acting and a solid plot. The odd moments of violence are often under-played and intelligently put across. Ennio Morricone's score is as affecting as any of his other soundtracks and the direction is fairly strong.
All in all, an interesting thriller, which whilst in its time (made in 1973) could have caused controversy (the US Censors snipped 15 minutes for a theatrical release in 1975), is nothing more by today's standards, than an adult murder-mystery with some interesting special effects
Ignore the cover - ignore the title; this is not cheap exploitation trash, but a well-made Italian suspenser. As long as you don't mind the odd plot-jump and usual 'Italian to English' dubbing (is it me or are the same ten actor's voices used to dub EVERY film from Italian to English?), this is worthy of 2hrs of anyone's time.
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Format: DVD
this so-so "giallo" was directed by ARMANDO CRISPINO, not Josè Marìa Forquè. Set during a sizzling Roman summer, "Autopsy" opens with a grim montage sequence depicting various people committing suicide/homicide. Straight after this we are plunged into a startling episode at the central morgue: as overwrought heroine Mimsy Farmer looks round, grotesquely leering corpses seem to come to life and get up from the slabs. Powerful stuff, but unfortunately the rest of the movie doesn't come up with anything to top it. What follows is an involved, but not very interesting murder mystery, fleshed out with exclusively unlikeable characters - Farmer included - and occasional touches of cruelty. Certain scenes - the deadly trap in the crime museum, for example - are effectively suspenseful, but the tricksy narrative outstays it's welcome long before the 100 minute running time is up. Picture quality, however, is excellent and the DVD includes a trailer for the film under it's official export title, "The Victim". If you're new to the "giallo" and are looking to build up a good collection on DVD, invest your money in films like "The Girl Who Knew Too Much", "Blood and Black Lace", "The Bird With The Crystal Plumage", "Deep Red" and "Torso". "Autopsy" is passable entertainment, but hardly essential.
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Format: DVD
Blue Underground continue their excellent restoration and re-issue of important Italian giallo films with Armando Crispino's 1975 effort "Autopsy" - just one of the six titles the film goes under. UK and US audiences may know it better as "The Magician" and "The Victim" respectively. By 1975 the formula of the giallo was cast pretty much in granite, and already signs of self-reference and parody were creeping into this most peculiar Italian filone. But Crispino instead opts for an elliptical temporal framework, and a rigorously subjective character perspective. The opening montage presents the audience with a series of random and unconnected suicides - this opening is a tour de force, and its narrative function is further elucidated by inserts of violent solar flares, and sunspots. Crispino uses the urban myth of sunspots causing suicide to act as a metaphor for what turns out to be a very conventional giallo motivation; inheritances, wills, and blackmail. However, with a lead character cracking up under the strain and suffering hallucinations (A brittle Mimsy Farmer), an epileptic racing driver turned priest (an edgy Barry Primus) and a photographer with a penchant for images of French dominatrix's (a strutting Ray Lovelock) - Crispino doesn't entirely manages to evade the clichés, but still he is able to present something that is very near to the narrative conventions of art cinema. This film emerged in the same year as Argento's giallo defining "Profondo Rosso", and is a far more unnerving and unsettling prospect, with an unusually drab visual style that emphasises the griminess of the implied incestuous relationship at the heart of the film. As all the action applies or relates to Americans or half Americans one can only assume that Crispino wasn't too enamoured with the US. Finally audiences can enjoy a totally unexpurgated print of a giallo that deserves a more prominent place in the field.
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