Two scenarios. Scenario One: A beautiful man meets another gorgeous hunk, finds that besides having a lot in common the hunk is down on his luck. The man, out of the kindness of his heart and more than a little chemistry, gives the hunk a job as his assistant. When the hunk is evicted, the man even lets him move into his home. Chemistry between the two grow until one day, during an intense sexual encounter with two girls, the pair cross a line into a burdening relationship when the man finds himself interacting with the hunk sexually. A lovely romance that makes your heart melt. Scenario Two: A short, toadish looking man in his 50s meets a gorgeous hunk, finds that besides having a lot in common, the hunk is down on his luck. The man, out of the kindness of his heart and more than a little chemistry with the hunk, gives him a job as his assistant. When the hunk is evicted, the man even lets him move into his home. Chemistry between the two grow until one day, during an intense sexual encounter with two girls, the older man crosses a line and dares to attempt the hunk sexually. A stalker story that makes you fear ugly people who might think you are attractive. The difference: Physical appearance, genetics, and age. Offensive and repugnant.

Matteo Garrone's deeply morbid subjective reflection from Italy is an insightful musing of two characters, and then a third which works as an agitator. The short man finds the tall man at the zoo, where he is watching a vulture. The short guy, named Peppino, is a sweet talker. He's about 50, balding, under 5 feet tall. The tall guy, named Valerio, is a head turner, about 20, attractive, over 6 feet tall. As they struggle to recall where they've met before, the perspective periodically shifts from the humans to the vulture, a bird that survives by detecting dead meat. The picture is mangled, the sound is dampened, and we get an inverted look of the bird blinking its eyes. Valerio says animals are his strongest interest. Funny, says Peppino, they're also his. He is a taxidermist.Peppino, with a light manner and a genial grin, is a beast of prey who likes to entice young men with his money and favors. Valerio, who is told extraordinary things about his Adonis-like looks, is not very smart, and likes to be charmed. Peppino works by artifice, taking Valerio to clubs and hiring hookers for parties; the two friends end up in bed with the girls, and Valerio doesn't see that for Peppino, the girls are the snare and he is the sitting duck.The Embalmer is adept at camouflaging its real essence and rattling us with the shifts of the plot. Among the movie's charades are not all overstated, but eerily implicit. Does Peppino see himself as a homosexual, or as a philanderer who likes good buddies and is open-minded in bed? Does Valerio know Peppino wants him? Does Valerio favor Peppino's money or Deborah's abundant sexual skill? Is Valerio totally retarded? Twice he infuriates Deborah by standing her up; he continues go along with Peppino's insistence upon just one more time. Is it a defect or an advantage of the film that we don't always know what occurs? Another intended question I think, as we ponder over Valerio, a babe in the woods who, when he's not with the one he loves, loves the one he's with, if he loves at all.This incredibly unsettling and implacable experience takes place largely in Italian beach towns, but in a gray season, against chilled, steeled skies. The sea is nonetheless far away and dejected, and Garrone's images bleed the life out of some scenes. The music is a sobbing, deeply haunting jazz abstraction. This is not a comedy or a sexploitation pic, but a prurient matter concerning two obsessed pursuants and their prey, whose physicality may have made life such a breeze for him that he never got the dexterity to live it.It may sound absurd that a balding old midget could seduce an apparently heterosexual young Apollo out of the arms of an insatiable woman, but after Deborah checks Peppino out, she knows she has to take him seriously. What the short man wants, he goes after with skill, guile…and desperate longing. And it's compelling to watch him maneuver.

For those who enjoy creepy psycho-sexual thrillers which feature determined dwarfs who are taxidermists, sultry, sulky and equally determined Italian temptresses, and tall, handsome and dumb apprentice taxidermists, The Embalmer (L'Imbalsamatore) might be the movie for you. "It's a shrew," says Peppino Profeta (Ernesto Mahieux) to Valerio (Valerio Foglia Manzillo), showing a tiny little animal perfectly mounted on a bit of wood. "Very rare! Imagine, my cat caught this, and what a battle to yank it out of its mouth!" It's not long before Valerio, who is far too dense to appreciate a metaphor, will be the object of a nasty and deadly tug-of-war between Peppino and that determined cat Deborah (Elisabetha Rochetti). Peppino is a very small (think of a thin and younger Danny De Vito), lonely man who has great charm and a sly, determined will to win what he wants and to keep it when he thinks he's won it. Valerio, a tall young man he meets at a zoo, is what he wants. Valerio is as good- natured and gullible as a puppy, and just as liable to roll over for the first person who wants to rub his stomach. Deborah is a woman who knows what she wants, is just as determined and manipulative as Peppino in getting it, and just as willing to rub the puppy's stomach. Peppino disguises his objective by arranging parties with easy women, but it's clear he prefers to watch Valerio rather than the females. Deborah is too experienced not to know what Peppino wants even if Valerio seems a bit dense about things. One would think Valerio would find himself in the best of all possible worlds. However, he's too naive to simply accept the blessings of circumstance and too easily influenced by the almost ruthless neediness and guilt both Peppino and Deborah use on him. As the story moves along, we learn that Peppino is in debt to the mafia and keeps in their good graces by opening corpses to insert packages of drugs for delivery. He knows that sideline can't be maintained forever. And Deborah, not only using her sexual skills on Valerio to keep him close-by, also announces to him that she's pregnant. This obsessive, bizarre contest over Valerio ends when he takes some decisive steps that involve gunshots and sinking cars. Is this movie a minor masterpiece that dwells on neediness and sexual manipulation? Well, no. But it certainly is a stylish and intriguing film, even with an ending that dissolves into loony violence and a certain nihilistic artiness. The story is interesting, the direction has style and the director keeps things moving. The film features an underlying and growing uneasiness, especially as Peppino's obsessions grow and Deborah's clutching anger becomes clear. The best thing about the movie, however, is Ernesto Mahieux. The actor is probably no taller than 5 feet. Acting against the more-than-six-feet-tall Valerio Foglia Manzillo, Mahieux must project charm and sincerity. But then Mahieux must also show us Peppino's subtle and then not-so subtle intentions and his growing insecurity, neediness and desperation. It's quite a performance, and every bit believable.

A fantastic dramatic feature that uses the conventional exploitation features. Peppino is a man who suffers from dwarfism and he can't handle it because he's a lonely man who needs attention, love, and most of all, company. His work is creepy enough to keep people away from him; he's an embalmer who has nexus with the mafia of Napoli.Suddenly he meets the young and handsome Valerio who quickly becomes his best friend because he treats Peppino like a normal person although he's discriminated by a part of society. Peppino suddenly becomes obsessed with him to the point that both their lives are at risk.Everything turns into a nightmare when Valerio meets and then falls in love with the spectacular and sexy Deborah. Peppino becomes very jealous and does everything possible to keep the couple separated. Sadly enough, his dark intentions lead to a sad and moving ending...This movie is not 100% exploitation because it's made on a solid plot structure and character development. I would consider this as an Art film with slight exploitation references and black comedy issues.For example, when I mention exploitation I put as an example Valerio's dream (or nightmare?) where Peppino comes into his bedroom at night and tries to do him oral sex. That scene hints the audience that Peppino is sexually attracted to Valerio even though they party with prostitutes, drinks, and women in general.Anyways, this movie also displays the complex relationships between a woman-man couple, and a friendship between a physically normal young man and a man with dwarfism. Not a common movie for Hollywood's standards.I totally recommend this movie for those who are tired of Hollywood's crap.Oh and I have to mention that it features some DELIGHTFULLY BEAUTIFUL places from the always spectacular Italy. I'm glad I had the chance to visit some places.A beautiful movie with a STRONG message.Ernesto Mahieux ... Peppino Valerio Foglia Manzillo ... Valerio Elisabetta Rocchetti ... Deborah