When psychotherapy proves inadequate to ease her fears, her new friend Mary suggests joining this lovely group that she belongs to. It's the kind of group where you change into robes and go barefoot into the basement, and the host welcomes you with a draught of fresh dog's blood, and then everyone rapes you during a Black Mass. If it all happened, that is.
Tutti i colori del buio keeps reality uncertain until very near the end. Any atrocity you see could just be a vivid dream or one of Jane's paranoid delusions. It grows more suspenseful as the stakes rise, especially once the cult leader (the typecast Julian Ugarte, sporting press-on talons) induces Jane to kill Mary, though Mary helps a lot by virtually throwing herself upon Jane's dagger. Now determined to escape the cult's influence, Jane takes flight, with the blue-eyed slasher in apparent pursuit. But is the cult pursuing her or guiding her hand to strike at its enemies through her? Who can say so long as, at one moment, she's stabbed her husband to death in an elevator, and in the next he's alive again? Anything you see might be the delusion of a madwoman, but none of it can be dismissed as long as we don't know for sure.
I last saw Julian Ugarte as a religious-fanatic outlaw in The Stranger and the Gunfighter. He seems to have been Europe's go-to guy for crazed zealots in the early 1970s.
In short, All the Colors of the Dark (which reached the U.S. in 1976 as They're Coming to Get You, a title that taps into the paranoid vibe but lacks the original's enigmatic elegance) is an often-effective psycho-Satanic thriller. It works as a story thanks largely to Edwige Fenech's intense lead performance. She delivers the goods both as indisputable eye candy and as a convincingly disturbed but never helpless heroine. Above and beyond the story, Colors works even more effectively on a pictorial level. It's an Italian film that shows the recent influence of Vittorio Storaro's work on The Conformist, down to the low-angle shots of blowing leaves. Miguel F. Mila and Giancarlo Ferrando make the most of the English landscape and architecture to give the film a neo-gothic atmosphere, while working the dreams and dreamlike ordeals of Jane for maximum weirdness.
Here's the original English-language trailer, uploaded to YouTube by braniki1:
And here's an American trailer for "They're Coming to Get You," uploaded by MediaB: