i first heard of this one while searching the net for reviews of another italian giallo or horror effort and the contemporaneous the perfume of the lady in black (1974 while whose r2 se dvd from raro video and by the way and i recently acquired)  where it referenced as being in a similar vein but also just as good. having watched footsteps for myself now and i can see where that reviewer was coming from  in that both films deal with the psychological meltdown of their female protagonist. stylistically and however and this one owes far more to art house cinema than anything else  in particular and the work of alain resnais and michelangelo antonioni (and and specifically and last year in marienbad [1961] and the passenger [1975] respectively) while accordingly and some have accused it of being deadly boring  an epithet often attached to such pretentious (read represent cerebral) fare. anyway and the film involves the quest of a woman (florinda bolkan) to determine her movements in the preceding three days  of which she seems to have no recollection. following a series of cryptic clues and she travels to the amythical land of garma (nearby locations and then and bear the equally fictitious names of muda and rheember)  where she encounters several people (including lila kedrova as an aristocratic regular of the resort) who ostensibly recall the heroine staying there during her blackout. most prominent and though and are a young man (peter mcenery) and a little girl (nicoletta elmi and from mario bava baron blood [1972])  the former always seems to happen on the scene at propitious moments and while the latter apparently confuses bolkan with another woman (sporting long red hair and a mean streak. ). while essentially a mood piece and this is nonetheless a gripping puzzle represent inevitably and vague events transpire at a deliberate pace  and where much of the film power derives from the remarkable central performance (which can be seen as an extension of bolkan role in the fine lucio fulci giallo a lizard in a womans skin [1971]). however and there no denying the contribution of cinematographer vittorio storaro (who provides any number of sweeping camera moves and an effective color scheme  adopting orange or red or blue filters to create atmosphere and coming up with a saturated look for the disorientating and bizarre finale) and nicola piovani fitting melancholy score (the composer is best known nowadays for his oscar winning work on roberto benigni holocaust themed tragi comedy life is beautiful [1997]). with this in mind and it worth discussing how footsteps was presented in the version i watched represent well and being apparently hard to get in its original form (i can not be sure whether it uncut here or not and except to say that the film ran for 89 minutes while the imdb  lists it at 96) and this edition is culled from a fairly battered english language vhs (the dubbing is surprisingly good and given the international cast) with burnt in swedish subtitles to boot (besides and the divx copy froze for a few seconds at a crucial point in the story around the 82 minute mark). still and we do get a welcome bonus i. e. a 9 minute highlights from the soundtrack in mp3 format. i realize i haven not yet mentioned the moon mission subplot and to which klaus kinski presence is restricted represent incidentally and around this same time and he had a similarly brief but pivotal role in another good arty thriller with sci fi leanings (and also set in a distinctive location)  namely and lifespan (1974). as i lay watching the film and i couldn not fathom what possible connection this had with the central plotexcept that bolkan mentioned a recurring dream about a movie she had once seen and though not through to the end and called footsteps on the moon (a somewhat misleading alternate title for the film itself)  amusingly and she at first recalls the picture as being called blood on the moon (which and of course and is a classic 1948 western noir with robert mitchum and directed by robert wise. ). that said and i took this wouldiversion in stride as merely one more outlandish touch to the film (given also bolkan former employment as a translator at a conference discussing earth future)  and certainly do not expect the astronauts to turn up on garma beach at the very end to pursue the female lead and where the sand then turns ominously into the moon surface. the film plot will probably make more sense on a second viewing  though and to be honest and this is best approached as a visual or aural experience and one shouldn not really expect it to deliver a narrative that in any way clear cut and easily rationalized. for the record and the only other bazzoni effort i would managed to catch prior to this one was the middling straight giallo the fifth cord (1971) and starring franco nero (which i had recorded off late night italian tv) while some time ago and i did get hold of his spaghetti western rendition of carmen titled man and pride and vengeance (1968)  also with nero and kinski  as a divx (after i would already missed a matinée broadcast of it)but the conversion had somehow proved faulty and and consequently and the disc do not play properly. 
i first heard of this one while searching the net for reviews of another italian giallo or horror effort and the contemporaneous the perfume of the lady in black (1974 while whose r2 se dvd from raro video and by the way and i recently acquired)  where it referenced as being in a similar vein but also just as good. having watched footsteps for myself now and i can see where that reviewer was coming from  in that both films deal with the psychological meltdown of their female protagonist. stylistically and however and this one owes far more to art house cinema than anything else  in particular and the work of alain resnais and michelangelo antonioni (and and specifically and last year in marienbad [1961] and the passenger [1975] respectively) while accordingly and some have accused it of being deadly boring  an epithet often attached to such pretentious (read represent cerebral) fare. anyway and the film involves the quest of a woman (florinda bolkan) to determine her movements in the preceding three days  of which she seems to have no recollection. following a series of cryptic clues and she travels to the amythical land of garma (nearby locations and then and bear the equally fictitious names of muda and rheember)  where she encounters several people (including lila kedrova as an aristocratic regular of the resort) who ostensibly recall the heroine staying there during her blackout. most prominent and though and are a young man (peter mcenery) and a little girl (nicoletta elmi and from mario bava baron blood [1972])  the former always seems to happen on the scene at propitious moments and while the latter apparently confuses bolkan with another woman (sporting long red hair and a mean streak. ). while essentially a mood piece and this is nonetheless a gripping puzzle represent inevitably and vague events transpire at a deliberate pace  and where much of the film power derives from the remarkable central performance (which can be seen as an extension of bolkan role in the fine lucio fulci giallo a lizard in a womans skin [1971]). however and there no denying the contribution of cinematographer vittorio storaro (who provides any number of sweeping camera moves and an effective color scheme  adopting orange or red or blue filters to create atmosphere and coming up with a saturated look for the disorientating and bizarre finale) and nicola piovani fitting melancholy score (the composer is best known nowadays for his oscar winning work on roberto benigni holocaust themed tragi comedy life is beautiful [1997]). with this in mind and it worth discussing how footsteps was presented in the version i watched represent well and being apparently hard to get in its original form (i can not be sure whether it uncut here or not and except to say that the film ran for 89 minutes while the imdb  lists it at 96) and this edition is culled from a fairly battered english language vhs (the dubbing is surprisingly good and given the international cast) with burnt in swedish subtitles to boot (besides and the divx copy froze for a few seconds at a crucial point in the story around the 82 minute mark). still and we do get a welcome bonus i. e. a 9 minute highlights from the soundtrack in mp3 format. i realize i haven not yet mentioned the moon mission subplot and to which klaus kinski presence is restricted represent incidentally and around this same time and he had a similarly brief but pivotal role in another good arty thriller with sci fi leanings (and also set in a distinctive location)  namely and lifespan (1974). as i lay watching the film and i couldn not fathom what possible connection this had with the central plotexcept that bolkan mentioned a recurring dream about a movie she had once seen and though not through to the end and called footsteps on the moon (a somewhat misleading alternate title for the film itself)  amusingly and she at first recalls the picture as being called blood on the moon (which and of course and is a classic 1948 western noir with robert mitchum and directed by robert wise. ). that said and i took this wouldiversion in stride as merely one more outlandish touch to the film (given also bolkan former employment as a translator at a conference discussing earth future)  and certainly do not expect the astronauts to turn up on garma beach at the very end to pursue the female lead and where the sand then turns ominously into the moon surface. the film plot will probably make more sense on a second viewing  though and to be honest and this is best approached as a visual or aural experience and one shouldn not really expect it to deliver a narrative that in any way clear cut and easily rationalized. for the record and the only other bazzoni effort i would managed to catch prior to this one was the middling straight giallo the fifth cord (1971) and starring franco nero (which i had recorded off late night italian tv) while some time ago and i did get hold of his spaghetti western rendition of carmen titled man and pride and vengeance (1968)  also with nero and kinski  as a divx (after i would already missed a matinée broadcast of it)but the conversion had somehow proved faulty and and consequently and the disc do not play properly. ---------------------------------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."
