As I write, “in the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such renowned cineastes as Federico Fellini, Bernardo Bertolucci, Luchino Visconti, Pier Paolo Pasolini and many others, but also works by more ‘populist’ filmmakers like Sergio Leone and Mario Bava. Elio Petri was a director who straddled both worlds. An avowed leftist, Petri nevertheless pursued commercial projects when he felt that they could also make a social statement within the content of supposedly escapist entertainment.
Having begun his apprenticeship in the cinema working as an assistant to director Giuseppe De Santis on several projects, most notably the neorealist drama Roma ore 11 (Rome 11 O’Clock, 1952), Petri then directed a number of shorts before helming his first feature, L’assassino (The Lady Killer of Rome, 1961), which starred Marcello Mastroianni in a straight dramatic role as an antique dealer unjustly accused of murder.
L’assassino was a critical and commercial success, and Petri continued on with several other projects, including one segment of the omnibus film Alta infedeltà (High Infidelity, 1964) entitled “Peccato nel pomeriggio”, before getting his first shot at a major international production with the film considered here, La decima vittima (The Tenth Victim, 1965). Petri got the idea for the film from a 1953 short story by science fiction author Robert Sheckley entitled “The Seventh Victim”. When La decima vittima opened and became an international hit, Sheckley wrote a “novelisation” of the film under the title The Tenth Victim, in 1966. It was Petri, however, who wrote the script for the film itself.”