been discovered, until the detective states that police believe Catherine caused the accident, as Robert had planned to divorce her. Based on this conclusion, Catherine is not legally entitled to her husband's estate, which Brian is informed will instead go to his aunt. Meanwhile, as Peter and Eva gleefully drive through the city in their convertible, they are killed in a head-on collision with a truck. Cast Analysis Film scholar Robert Curti considers Orgasmo a variation on Pier Paolo Pasolini's Teorema (1968), another film in which "seductive strangers [disrupt] the bourgeois status quo and its morals." Curti also compares the film to the novella Carmilla (1872), about a young woman seduced by a lesbian vampire. Release Orgasmo premiered in Italy on 7 February 1969. The Italian version of Orgasmo has a different ending than the American version. In the United States, Orgasmo opened under the Paranoia title in New York City on 22 August 1969. The film was among the first to receive an X rating in the United States under the newly-established Motion Picture Association film rating system, and its X rating was sensationalized in advertising materials. The film's title has led to confusion due to its re-titling in the United States as Paranoia. Umberto Lenzi's next film (which also starred Carroll Baker) was released as Paranoia in Italy in 1970, but was retitled A Quiet Place to Kill for its American release. Like other early giallo films, Orgasmo was not popular among Italian film audiences upon its initial theatrical release, as the genre never gained popularity in its home country until the release of Dario Argento's The Bird with the Crystal Plumage (1970) and The Cat o' Nine Tails (1971), but it was a major hit outside of Italy. Orgasmo was released in France as Une folle envie d'aimer (). Critical reception From contemporary reviews, the Monthly Film Bulletin stated that "this high gloss melodrama rings enough changes on an old theme to keep one watching right up to the grisly retribution of the finale, even if the denouement is a trifle rushed". The review concluded that "it might have been even more enjoyable - on its own low camp level - if Umberto Lenzi had not been so determined to match style to subject, with the camera deliriously sliding in and out of focus as the tormented lady totters down the stairs and every scene shot from