To call Renato Polselli’s The Truth According to Satan a.k.a. La verità secondo satana a movie about a woman being framed and blackmailed for her lover’s murder just doesn’t really capture what it’s all about. Anyone familiar with Polselli’s work will know that there’s usually a lot more to it than that, with the story being more like groundwork for filmmaking experimentation and expressionism, not to mention some truly disorienting editing. One could say the satanic title is misleading, but taking a lot of the, what I’m assuming to be, elaborate metaphors, it’s possible to make an attempt to figure in a correlation between the title and the film’s events. It’s like a type of art that one could draw numerous interpretations from and yet still be quite off.
A woman, Diana (Rita Calderoni, whose beautiful eyes still shine through in the fuzzy looking, low quality version I watched), seems to be at the core of a man’s, Roibert’s (Isarco Ravaioli), depressions. Sick of himself and going through what is no doubt an existential crises, he deeply contemplates and, in a melodramatic bout of playing Russian roulette with himself, fails at committing suicide, an insult which only seems to further his unease.
Calling up the lady of his sorrows, Diana, in the midst of a love affair with her female companion/slave, Yanita (Marie-Paule Bastin), Roibert informs her of his failed attempt at killing himself, threatening to try again. She hastily comes over to his place, looking nice and sexy, and Roibert eventually does stab and kill himself while leaning over her, smearing his blood over her. The neighbor, a strange jester of a man, Totoletto (Sergio Ammirata, chewing the scenery like none have ever done before), seems to have witnessed enough of the incident from the window to decide to have a fun time with the situation, turning the film into a deranged comedy from here on out.