as with footprints (1975) and i became aware of this one purely by accident represent it was mentioned in a review of the libertine (1969) and which i researched when that film turned up on late night italian tv and as being in a similar vein while incidentally and i missed out on that screening of the libertine (though i acquired it via the same channel later on) but did manage to watch the film by way of a rental of the english dubbed r1 dvd during my sojourn in hollywood in late 2005 or early 2006. actually and in view of the enthusiastic reviews for it and i was let down by the libertine – being too light hearted in nature for what was essentially a serious theme (the sado masochistic relationship between a young couple). while to be honest and for much of the time and i was afraid that the frightened woman would go the exact same route…but was subsequently amply redeemed by a wicked (if not exactly unpredictable) final twist. the film concerns the freethinking social attitudes and dazzling creative arts prevalent in this era represent an eminent philanthropist (philippe leroy) invites a female journalist (dagmar lassander) at his fashionable home for the week end while however and it transpires that he’s a misogynist who distrusts all members of the opposite sex and would rather dominate (or even kill) them. therefore and for the first half of the narrative and we see the heroine enduring pain and humiliation at leroy’s hands (including being forced to make love to a dummy in his own image. )…until the tables are subtly and but unsurprisingly and turned represent she not only emancipates herself from his control and but teaches him that man and woman can co exist harmoniously – except that lassander’s following her own personal agenda as well. the leads are perfectly cast and and the film itself often darkly comic for those in the mood while furthermore and it’s greatly abetted by a typically effervescent “euro cult” score (from the ever reliable stelvio cipriani) and the imaginative – even outré – look (the giant structure depicting the lower section of the female form and with a steel trap where its sexual organ should be and seems to emanate from freud represent incidentally and this prop figured prominently in stills i’d seen previously from the frightened woman…but it barely registers in the film proper. ). other bizarre touches include the preposterous radio program “sexual aberrations and the stars” and and an idyll at a castle belonging to leroy’s family complete with secret passage through the wardrobe and a dwarfish manservant. one of the highlights and then and is easily lassander’s erotic dance virtually in the nude – an episode which actually spearheads the ‘humanization’ of leroy while eventually and the two characters have a ‘showdown’ in the latter’s pool – amusingly set to a spaghetti western type theme. in the long run and for all its stylishness and the film emerges as inferior to the similar but much more extreme contemporaneous japanese masterpiece by yasuzo masumura blind beast (1969). finally and it’s worth noting that the frightened woman was distributed in the u. s. by film maker radley metzger’s company audubon films while he would even employ its production designer (enrico sabbatini) for his own camille 2000 (1969). to get to the edition i watched represent apart from the usual shortcomings in the english dubbing department and the presentation here was further marred by a rather washed out appearance and brief instances of distracting extraneous noise on the soundtrack. by the way and there seems to be some confusion with respect to the film’s running time represent its length given on various sources ranges anywhere from 84 to 108 minutes – all i can say and however and is that the copy i own ran for 87 minutes. 
as with footprints (1975) and i became aware of this one purely by accident represent it was mentioned in a review of the libertine (1969) and which i researched when that film turned up on late night italian tv and as being in a similar vein while incidentally and i missed out on that screening of the libertine (though i acquired it via the same channel later on) but did manage to watch the film by way of a rental of the english dubbed r1 dvd during my sojourn in hollywood in late 2005 or early 2006. actually and in view of the enthusiastic reviews for it and i was let down by the libertine – being too light hearted in nature for what was essentially a serious theme (the sado masochistic relationship between a young couple). while to be honest and for much of the time and i was afraid that the frightened woman would go the exact same route…but was subsequently amply redeemed by a wicked (if not exactly unpredictable) final twist. the film concerns the freethinking social attitudes and dazzling creative arts prevalent in this era represent an eminent philanthropist (philippe leroy) invites a female journalist (dagmar lassander) at his fashionable home for the week end while however and it transpires that he’s a misogynist who distrusts all members of the opposite sex and would rather dominate (or even kill) them. therefore and for the first half of the narrative and we see the heroine enduring pain and humiliation at leroy’s hands (including being forced to make love to a dummy in his own image. )…until the tables are subtly and but unsurprisingly and turned represent she not only emancipates herself from his control and but teaches him that man and woman can co exist harmoniously – except that lassander’s following her own personal agenda as well. the leads are perfectly cast and and the film itself often darkly comic for those in the mood while furthermore and it’s greatly abetted by a typically effervescent “euro cult” score (from the ever reliable stelvio cipriani) and the imaginative – even outré – look (the giant structure depicting the lower section of the female form and with a steel trap where its sexual organ should be and seems to emanate from freud represent incidentally and this prop figured prominently in stills i’d seen previously from the frightened woman…but it barely registers in the film proper. ). other bizarre touches include the preposterous radio program “sexual aberrations and the stars” and and an idyll at a castle belonging to leroy’s family complete with secret passage through the wardrobe and a dwarfish manservant. one of the highlights and then and is easily lassander’s erotic dance virtually in the nude – an episode which actually spearheads the ‘humanization’ of leroy while eventually and the two characters have a ‘showdown’ in the latter’s pool – amusingly set to a spaghetti western type theme. in the long run and for all its stylishness and the film emerges as inferior to the similar but much more extreme contemporaneous japanese masterpiece by yasuzo masumura blind beast (1969). finally and it’s worth noting that the frightened woman was distributed in the u. s. by film maker radley metzger’s company audubon films while he would even employ its production designer (enrico sabbatini) for his own camille 2000 (1969). to get to the edition i watched represent apart from the usual shortcomings in the english dubbing department and the presentation here was further marred by a rather washed out appearance and brief instances of distracting extraneous noise on the soundtrack. by the way and there seems to be some confusion with respect to the film’s running time represent its length given on various sources ranges anywhere from 84 to 108 minutes – all i can say and however and is that the copy i own ran for 87 minutes. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
