Tre passi nel delirio

Three separate stories:

• Skip the first one. Just do it. If you really must ogle the young Jane Fonda, get Barbarella.

• Your call on the second one. Okay, but not memorable.

The third story makes the film. It's "Fellini-esque"! Fellini's wild imagery makes narrative sense (well, sort of), when applied to the story of an addled English actor stumbling around Rome at breakneck speed. The segment also features a startlingly original image of evil (an "Anglican devil," I think that's the Terence Stamp character's phrase). Maybe it's just me, but the segment's conception of the devil is among the spookiest things I've ever seen on film; and when you get right down to it, it makes a lot more theological sense then ugly, scaly guys with tails.