"The French James Dean" Alain Delon (Fabio Montale, ) stars as Marc, a small-time con man on the run from a mobster. After seeking refuge in the mansion of the widowed Barbara (Lola Albright) and her curvaceous cousin, Melinda (Jane Fonda), Marc becomes trapped in the passionate snares of both women, who are full of deadly surprises.Also Includes Added Bonus: French language version of Joy House ("Les Félins) with optional English subtitles
Besides showcasing Barbarella-era Jane Fonda in one of her sexiest roles, Réné Clément’s thriller Joy House offers enough psychological suspense to count as horror. In it, Marc (Alain Délon of Purple Noon) agrees to indentured servitude to two women, Melinda (Jane Fonda) and her Aunt Barbara (Lola Albright) who hide him from police following a crime he has committed. Though the ladies appear from the outset to have renounced corruption for a life of monastic charity, their catfights over Marc result in his being trapped inside their castle, glamorously located in the French Riviera. The harder he tries to escape, the more he realizes he is trapped in the web woven by these two spider-like villainesses. Joy House’s suspense is wrapped in elegance. The stars, its settings, and the film’s score by Lalo Schifrin lifts it out of the B-movie, Hammer-film haunted house tale category. Like so many classic horror movies, most of the action takes place in a grand chateau, allowing Joy House to revel in its sense of claustrophobia. This recalls Mario Bava films, such as Black Sabbath and Hatchet for the Honeymoon, though the sexual tension implicit to Joy House is more akin to Jean Rollin’s movies, which focus as much on physical attraction as impending death. It also recalls Mommie Dearest or All About Eve, in which an elderly female competes with the younger for attention. Mirrored closet doors and reflective furniture throughout the mansion, as well as car rear-views, emphasize deception thematically in an especially Giallo way. However, there is zero gore here, and this film shies away from direct violence in favor of the implied, which is more in line with its sexually deviant undertow. --Trinie Dalton