When a film depicts the future, it’s not just a vision of the future but a document of the time. Case in point, The 10th Victim (1965) which is set in the year 2079 and based on the short story by Robert Sheckley, and yet, it is completely a time capsule of 1960s pop-art, comic-book style. This is one cool movie, let me tell you. From the impeccably jaunty score by Piero Piccioni to the “futuristic” fashions and then the combined star power of Marcello Mastroianni (with dyed blonde hair) and Ursula Andress, it’s a fashionable affair, and one that’s legacy is mainly inspiring aspects of Austin Powers; his band, Ming Tea, is taken from this film as well as the Fembots using their breasts as guns, which is right from the pistol-bra Andress uses in the opening sequence.
Bras with guns – what’s going on here? The 10th Victim is an early iteration of the ‘death sport’ sub-genre where to ensure society remains stable, people can participate in televised assassination games. If electing to be a contestant, you get ten rounds: five where you’re the hunter, five where you’re the hunted. Those who survive the ten rounds receive millions of dollars and higher status in society. American Caroline Meredith (Andress) has claimed her ninth victim and is matched with Marcello Poletti (Mastroianni), a competitive player who only wants money, after a divorce from his wife and his furniture being repossessed. Directed by Elio Petri (Investigation of a Citizen above Suspicion), there’s a strong satirical element as people shoot each other in the background, and society carries on unbothered. As Poletti remarks seeing a murdered victim bob along a river, “Why don’t they clean up the bodies?” There’s a scene where Poletti’s current squeeze Olga (Elsa Martinelli) refers to their comic-book collection as ‘Classic literature’ and in the 1960s, this would have been a satirical mark on the values of the future (and the present), even though by this point, in today’s era, comic-books are treated as mainstream cinema. The interest in comic-books extends to the framing of shots, the set design and costumes, which are bright and colourful, and feel connected to chic aesthetics from this era. More of a surreal comedy than an action flick, I had a great time with The 10th Victim, particularly the rakish shrug of Mastroianni’s performance, as someone both despondent at having to play the game once more, yet slippery when cornered. Again, this is a cool movie. Streamed a copy on Tubi (US setting). Recommended.
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