Twins of Evil (1971)

A nice ending to Hammer's Karnstein trilogy, 28 July 2009

Can someone please explain to me why Hammer's Twins of Evil isn't available in Region 1 on DVD? What a joke! Twins of Evil is as good and entertaining as many of the better known Hammer offerings that you can find in the $5 bin at Wal Mart. And it's not like Twins of Evil doesn't have a "name" star. Peter Cushing is about as big a "name" as you'll find in the Hammer catalogue.

In Twins of Evil, Peter Cushing plays Gustav, the leader of a group of Puritan style religious fanatics who have no qualms in burning alive any attractive woman they encounter. However, fearing the wrath of the King, Gustav and his merry band of witchfinders conveniently ignore the fact that Count Karnstein is a vampire. Things are going good for Gustav – burning witches and all – until his twin nieces, Frieda and Maria, turn up at his doorstep looking for a place to live. Frieda's got a wild side and is soon drawn to the Count. In no time at all, Frieda joins the Count in his bloodsucking ways. Now what's Gustav to do? Kill his own kin?

I just love these Hammer period pieces. I know that by 1971 this kind of horror was horribly outdated, but today I look at it and joy in its relative quaintness. The period costumes (excluding some worn by Playboy twins Madeleine and Mary Collinson), the big old castle on the top of the hill, the fog shrouded woods, and the antiquated notion of burning witches are things that make Twins of Evil so much fun. Speaking of the Collinson twins, I don't think it was their abilities as thespians that landed them their roles. They may be eye-candy, but that's about it. Cushing gives his usual outstanding performance. Plenty of good atmosphere and snappy direction are other highlights of the film. Finally, even though I saw it coming from a mile away, I loved the little twist at the end. Overall, an enjoyable film and a nice ending to Hammer's Karnstein trilogy (and real step-up from the preceding entry, Lust for a Vampire). I'll give it an 8/10. Here's to hoping for that R1 release!

8/10

Have a Good Funeral, My Friend... Sartana Will Pay (1971)

- Buon funerale, amigos!... paga Sartana
Not a bad example of what I'm going to call a lesser SW, 10 May 2009

Sartana blows into town just after a local prospector, Joe Benson, has been murdered. Suddenly, there seems to be no shortage of buyers for the old man's land that most describe as nothing more than a pile of worthless sand. The two men who seem to want the land the most are the local crooked banker and the Chinese gambling parlor owner. But why? With Sartan's help, Benson's niece and heir plays the two potential buyers against each other looking to get the most for the land. Will she succeed? The only thing that's certain is that Sartana's going to do whatever he cam to make sure he comes out ahead.

Certainly not what I would call a top of the line Spaghetti Western, Have a Good Funeral, My Friend . . . Sartana Will Pay (let's shorten that to Have a Good Funeral for the rest of this comment) is still an enjoyable enough installment in the Sartana series. Gianni Garko is back as Sartana. He's excellent in the role and provides the character with just the right amount of mystery to throw doubt on his motivations. Even among the super human feats of other SW heroes, Sartana's abilities with a gun, a deck of cards, or being in the right place at the right time are unmatched. The supporting cast features a number of familiar faces – Helga Line and Franco Ressel being chief among them. But I was most impressed with Daniela Giordano and George Wang - the latter seemingly enjoying himself as much as anyone. Giuliano Carnimeo's direction is more workmanlike than artistic, though he does provide a visual flourish or two as Have a Good Funeral progresses. The plot has enough twists and turns to keep things interesting. And even thought the man behind the killings is easy to spot for anyone who's seen enough of these movies, it's still fun to watch Sartana figure things out. Finally, Bruno Nicolai's score is definitely a high point of the film, even if it is eerily reminiscent of some of his other work. Overall, not a bad example of what I'm going to call a lesser SW. Trust me, you could do a whole lot worse.

7/10

Two-Lane Blacktop (1971)

"Performance and image, that's what it's all about.", 12 April 2008

I watched Two-Lane Blacktop last night for the first time and all I can say is "Wow". While I may not be one of those who proclaims it to be the greatest movie ever filmed, it is certainly a fine piece of American cinema. I'm not sure I've ever seen a film quite like it. That's because there aren't many directors out there like Monte Hellman with the guts or patience to make something like Two-Lane Blacktop. For starters, the cast includes non-actors in three of the four main roles. I think all do a wonderful job and their lack of experience (James Taylor being the best example) actually worked in the movie's favor. The fourth actor, Warren Oates, gives another amazing performance.

Next, Hellman made a 102 minute movie that has about 15 minutes of dialogue. But you know what, it doesn't need any more. Taylor as The Driver and Dennis Wilson as The Mechanic don't need to talk. Their car does all the talking for them. And when they do talk (except for a rare, poignant moment near the end of the film when The Driver shows a hint of humanity), their conversations revolve around carburetors and such. Anyway, Oates' character, GTO, does enough talking for everyone.

Hellman also made a movie with so little action (other than a few race scenes) that some people look at it and see nothing. I don't know how many comments I've read that call Two-Lane Blacktop "boring" or "dull". I see a lot going on in the movie but I think it's either too subtle for some people or they don't have the patience to just go along with it. The movie can most likely be interpreted a number of ways, but to me Two-Lane Blacktop is the story of four people on a journey. For The Driver and The Mechanic, they may have found what they're looking for in their car. The thrill of the next race and the challenge of the next tune-up are all that matters to them. As for GTO, he's looking for his life. He spins wild tales hoping one will stick. And The Girl is looking for someone to take care of her. The Driver, The Mechanic, and GTO are nice enough, but all are so into their own reality that they are incapable of giving The Girl what she needs.

Finally, I've read all the charges that Two-Lane Blacktop has no ending. I'll argue that it ends the only way it could. Just because the movie's over, it doesn't mean that any of the four characters have finished their quests. They started the movie looking for something and they end it the same way.

I'll stop there. I just hope my ramblings aren't quite as incoherent as they seem. In the end, I can easily see why this movie's not for everyone, but for me, Two-Lane Blacktop works – and works well. It's an amazing experience that I'm glad I finally had . For what it's worth, I'll give it a 8/10. That rating will most likely go up after a repeat viewing now that I know what to expect.

8/10

Gamera vs. Zigra (1971)

- Gamera tai Shinkai kaijû Jigura
"Gamera is the friend of all children! ", 31 March 2008

When the Earth is threatened by an aquatic, shark-looking alien named Zigra (and conveniently from the planet Zigra), it's up to Gamera (and two very annoying Japanese children) to save all of mankind.

Gamera vs. Zigra is the bottom of the barrel when if comes to Japanese monster movies. Everything that makes Gamera so inferior to Godzilla is here: the annoying children, the ridiculous Gamera theme song, the ineffective defense force taking its lead from a 6 year-old, a woman in a mini-skirt chasing kids through Sea World, Kenny (Is there always a kid named "Kenny" in one of these movies?), and the worst looking monsters put on film. I realize these movies were aimed at a much younger audience (remember, "Gamera is the friend of all children!"), but do they have to be so stupid? I'm afraid my head might explode if I think about it too much. I could go on and on, but I'll limit this to two surreal moments that are so silly they almost defy description.

First, with the entire planet facing the threat of being conquered by Zigra and Tokyo preparing for a magnitude 18 (whatever that means) earthquake, an argument over fish takes center stage for better than 5 minutes of the movie's runtime. The man responsible for feeding the dolphins at the Tokyo Sea World and the manager of a swanky hotel get into a heated argument with a fishmonger over a crate of fish. Mankind is on the verge of extinction and all these people seem to be worried about is fish. As I indicated, I really can't do it justice. You'd have to see it to believe it.

Second, having just defeated Zigra (not really a spoiler – did you think Gamera was going to lose?), Gamera uses Zigra like a xylophone to pound out a tune. Yes, that's right – Gamera uses a club on Zigra's dorsal fin to play the first few notes of his theme song. And if that weren't ridiculous enough, Gamera follows it up with a few dance steps. This is surely one of the proudest moments in Japanese film history.

See what I mean? My head hurts just thinking about it.

2/10

Vanishing Point (1971)

"Hey Kowalski, you out there?", 17 February 2008

Kowalski is a driver. It's all he's known whether from his former life as stock car driver or a policeman. Driving is in his blood. His new job is delivering cars across the country. His assignment is to take a Dodge Challenger from Denver to San Francisco. And Kowalski intends to do it in record time. It's not long before Kowalski has the police from four states hot on his trail.

There's really not a lot you can write about Vanishing Point without first discussing the film's finale. And, it's almost impossible to discuss the ending of Vanishing Point without giving it away. I'll try not to give too much away, but it will be difficult. Vanishing Point is as nihilistic a movie as I've seen. Why did Kowalski do what he did? And why does Kowalski even have to get to San Francisco in such a hurry? The way I see it, the two are related in Kowalski's desire for freedom. He does what he does at the end of the movie to express the ultimate freedom. Also, in Kowalski world view, driving represents freedom. He is driving from Denver to San Francisco because that's what he does – he drives. It may not be the way you or I see the world, but it's Kowalski's way.

Beyond the ending, Vanishing Point is a fascinating movie. If you don't think you would find scene after scene of a 1970 Alpine White Dodge Challenger going down the highway exciting, Vanishing Point might not be a good choice for you. I'll admit, however, that once he reached the vast, limitless desert, I began to worry that I might also lose interest. But it's these seemingly endless scenes interrupted by Kowalski's flashbacks or a chance meeting with a stranger that make the ending so powerful. There's no predicting what's about to come. It's an awesome experience!

8/10

The Devil Has Seven Faces (1971)

- Il diavolo a sette facce
A Mixed Bag, 11 February 2008

It's tough to pigeonhole a movie like The Devil Has 7 Faces. While I'm going to call it a Giallo, I do so with reservations. The Devil Has 7 Faces may not include the normal black-gloved, knife-welding mania, or even a body count usually associated with this kind of movie, but it does have enough of the Giallo feel to it in my mind to be called a Giallo. And when you mix in a smarmy George Hilton, Carroll Baker (who I'm not particularly a fan of), a super "loungey" score from Stelvio Cipriani, and a convoluted plot, the result is a film that most any Giallo/Euro-Crime fan can find something to enjoy.

The plot involves a woman named Julie Harrison (Baker) who is being terrorized by a gang of jewel thieves. It soon comes out that her twin sister, Mary, was involved in major diamond heist, but double-crossed her husband/partner. Have the jewel thieves confused Julie and Mary?

Unfortunately, the movie is not without its problems. Chief among them is the mediocre direction of Osvaldo Civirani. He seems incapable of creating suspense or tension even in the most obvious of moments. He also handles many of the key plot twists with all the finesse of a gorilla. Much of the movie's outcome is painfully obvious long before it should be. Finally, there are a couple of "What the . . . " type moments in The Devil Has 7 Faces. I don't want to give anything away, but there are some things that happen in the movie that just left me scratching my head.

5/10

The Touch of Satan (1971)

"This is where the fish lives.", 24 July 2007

Sometimes I feel like I ramble on and on when I'm writing one of these. No worries this time though, because I'm keeping it short and sweet. The Touch of Satan is one of the biggest bores of a movie to ever come down the pike. Lackluster people doing dull and unimaginative things make for one excruciating experience. Even when Grandma shows up and hacks up a few people, it's met with the same ho-hum enthusiasm as the rest of the movie. For what it's worth, I've rated The Touch of Satan an incredibly generous 2/10.

As with many of the "bad" movies I've been watching lately, I saw The Touch of Satan courtesy of Mystery Science Theater 3000. While some of the riffs (particularly those about the long pauses in the dialogue) are very funny, overall the episode is too inconsistent to rate too highly. I'll give Episode #908 a wishy-washy and very average 3/5 on my MST3K rating scale.

2/10

Let's Scare Jessica to Death (1971)

"Do you like my new dress? My new old dress?", 3 September 2006

Jessica (Zohra Lampert) is a troubled woman. Recently "cured" of a psychological disorder, she and her husband, along with a friend, move to a large house in the country. Upon arriving, they find a mysterious, but agreeable woman named Emily (Mariclare Costello) living in their house. They invite her to stay and things seem to be going smoothly. But Jessica has started having visions again. She sees people who aren't there, hears voices, and discovers dead bodies. No one else notices anything. Is Jessica going mad? Or is there something more evil going on?

For the most part, Let's Scare Jessica to Death works as a slow-moving, atmospheric horror film. If you need chainsaws rumbling, masked killers, and blood spurting, steer clear of this one. But if you're a fan of slow-burn, subtle horror, you will find a lot to enjoy. There are moments in Let's Scare Jessica to Death that go beyond creepy and enter the realm of downright scary. The film has the feel to it of something just under the surface you can't see, but scares you nonetheless. Images like Emily coming out of the water in her wedding dress are classic. And, overall the film looks great – and by great I mean suitably dark and foreboding. The acting is generally good with Costello giving a standout performance. A lot has been written about Lampert – some going so far as to call her performance "Oscar Worthy". To me, she seems to be trying a bit too hard. Yeah, we know she's a nutcase, but that doesn't excuse some of the over-the-top histrionics. Get over yourself!

Notice I wrote that Let's Scare Jessica to Death works "for the most part". I have never cared for the ending. The finale takes the film in a completely different direction from anything that comes before. For lack of a better work, it's too obvious. It's as if someone demanded something more overt in the ending. A more subtle, mysterious ending would have fit better with the atmospheric feeling that the film had been building. Instead, we're given an ending that really harms what is otherwise a classic horror film.

7/10

Crucible of Terror (1971)

The Killer Kimono, 29 June 2006

There's as much wasted potential in Crucible of Terror as I remember seeing recently. Part of the film's problem is the muddled plot. Things get off to a decent start with an artist who uses a woman as the base for his bronze sculpture. Think of it as House of Wax without the wax. 99% of the movie follows this plot thread as those around the artist are murdered by a crazed killer. One of the characters says something about some sort of Satanic type stuff, but it's only mentioned in passing. It's a "blink and you'll miss it" type moment. So the ending comes out of nowhere and abandons most everything that's happened by reintroducing the crazy religious stuff in the final five minutes. Huh? Where did that come from? It's got to be one of the worst twist endings I've seen.

The shift in gears at the end of Crucible of Terror might have been more palatable had I actually cared about any of the characters by the time it rolled around. For a film that features so many characters being killed, it's terribly dull. Other than watching a lecherous Mike Raven put the moves on anything in a skirt, there's not much going on. Sure, people die, but why should I have cared. None of the characters seemed to notice their friends were going missing.

Beyond the plot and the unlikable characters, most of the rest of the movie is just as bad. The editing is sloppy. Characters are killed in rooms that seem to be next to one another, yet no on seems to notice even though the victims scream and make other appropriate noises. The acting is weak. The lisping Mike Raven cannot carry the film. He's a very poor imitation of Christopher Lee. You know you're in trouble when Raven is the best "actor" in the cast. The set design and special effects are bad. I think I could build a more realistic looking forge in my basement. Finally, could Crucible of Terror have included anymore horror clichés? I've seen nutty characters, cars that won't start, and almost everything else in this movie a million times.

2/10

Feast for the Devil (1971)

- Las amantes del diablo
Little to get excited about, 3 May 2006

I did something while watching Feast for the Devil that I rarely, if ever, do – I caught myself nodding off a couple of times. Why? It's dull. It's uneventful. It's pointless. It's not very good. Instead of Feast for the Devil, a better title might be Feast for the Insomniac.

Usually these Euro-Gothic films work for me. I'm a fan. But there's so little to get excited about in Feast for the Devil that it never clicked with me. The story involves a Dr. Tills Nescu who has a bad habit of kidnapping and sacrificing young women. While that may sound like a good set-up for a movie, in all actuality, Dr. Nescu and a variety of unknown people spend most of the movie at parties on his boat. Not very Satanic, huh? The movie builds to the final scenes of Dr. Nescu performing his rituals to honor Satan. But as it turns out, Dr. Nescu is hardly the big bad servant of the Devil we've been led to believe throughout the movie. Instead, he's more of a servant of his dead mother. What a letdown!

4/10

Four Flies on Grey Velvet (1971)

- 4 mosche di velluto grigio
Another film that needs a good, legitimate Region 1 release., 27 April 2006

I am a Dario Argento fan. Some of his films like Suspiria, Deep Red, and Tenebre are among my all-time favorites. Until just recently, however, there was one notable entry on Argento's filmography that I had not seen – Four Flies on Grey Velvet. Maybe I had built it up to much in my mind or maybe it was the bad transfer or maybe it's just not that good, but to say I was disappointed would be an understatement.

Before I get to the problems I have with Four Flies on Grey Velvet, I'll cover a few things that worked for me. First, the scenario the protagonist finds himself in the middle of is brilliant. In a scuffle over a knife, a man accidentally stabs and kills a stalker who has been following him for weeks. Unknown to our protagonist, there was a witness with a camera present who issues a series of threats against his life. He can't go to the police as his crime will be discovered. And the blackmailer doesn't seem to want money, just his life. It's a terrific set-up. Second, Argento is able to create some nice atmosphere and suspense, especially in the scenes where the blackmailer enters the man's house. Just imagine having someone who wants you dead seemingly able to come and go at will from your house. It's a chilling thought and Argento makes the most of these nighttime scenes.

But there are problems with Four Flies on Grey Velvet that I cannot overlook. To begin with, the casting is horrible. Michael Brandon makes the most unappealing lead I've seen in an Argento film. Because he makes no emotional connection with the viewer (at least with this viewer), it's hard to care about what happens to him. And Mimsy Farmer is just plain old bad. Then there's the comedy Argento decided to put in the movie. A little comic relief is one thing, but this is too much. For example, every scene with the mailman is so totally ridiculous that it takes away from any suspense Argento had been able to create. Finally, the clue that leads to the killer's revelation is preposterous. This is 1950s b-movie, sci-fi stuff – not Argento.

If the legal questions surrounding the rights of Four Flies on Grey Velvet are ever resolved and the movie gets a legitimate Region 1 release, I'll definitely give it another chance. As I said in my opening paragraph, the transfer on the DVD-R I watched was horrible and cut. Plus, I'll go into the film a second time without the overly lofty expectations. Until then, however, a 6/10 is the best I can do.

6/10

The Brotherhood of Satan (1971)

Criminally Underrated, 25 April 2006

Every great once in a while, you stumble upon a movie that exceeds even your wildest expectations. Given the IMDb rating of 4.0, I wasn't really expecting much with The Brotherhood of Satan. I hoped that at a minimum it might be cheesy fun like The Devil's Rain or any of the other early 70s similarly themed Satanic horror films. I couldn't' have been more wrong. What I got instead was an ambitious and intelligent film with a cast I really enjoyed. Speaking in broad terms to avoid giving anything away, the film's style and structure are much more experimental than the straightforward storytelling so prominent in the early 70s. The Brotherhood of Satan doesn't beat you over the head with plot points and explanations. A lot is left to the viewer to fill in the blanks. As a viewer, you know something is amiss, but for the longest period you're just not sure what it is. The unknown helps make for a far creepier atmosphere than most similar films. The ending is effective with its surreal imagery. I sat in amazement as the final credits began to roll. Those wanting a big slam-bang finale will be disappointed with the ending's simplicity. A lesser film would have tried to pull out all the stops and would, most likely, have failed miserably.

There are moments in the film where it's easy to forget the director, Bernard McEveety, had primarily worked in television before The Brotherhood of Satan. There are a few scenes that are so well set-up, lit, and shot that even the most accomplished of directors could learn a thing or two. For example, I've seen enough films over the years to realize that directors can sometimes seem to have trouble shooting widescreen shots indoors. Not here. The scene where the men are discussing their plan of action in the sheriff's office is amazing. We see all five men at once – each doing their own thing as in real life. In a lesser film, we might see all the men at once, but each would be motionless, quietly waiting their turn to deliver their dialogue. It's a small scene, but it looks so natural and is so beautifully shot that it's one of my favorite moments of The Brotherhood of Satan.

Finally, I mentioned the acting in my opening, so without going into a long-winded speech, I'll just say that The Brotherhood of Satan features Strother Martin and L.Q. Jones. Any film with these two guys is almost an automatic winner with me.

8/10

Black Belly of the Tarantula (1971)

- La tarantola dal ventre nero
A particularly sadistic means of murder, 10 April 2006

If you were looking for a blueprint on the common elements of a Gaillo, The Black Belly of the Tarantula would be a good example. It contains just about every cliché associated with the genre – outrageous death scenes, a gloved killer, a convoluted plot, and beautiful women.

1. Outrageous Death Scenes – The killer's mode of murder is to paralyze his victims so they are conscious and aware of the butchering they are receiving. It's a particularly sadistic touch.

2. A Gloved Killer – What self-respecting Giallo doesn't feature a gloved killer? They may not be black gloves, but they're gloves nonetheless. The killer is the Giallo standard issue – trench coat, wide brimmed hat, the aforementioned gloves, and an uncanny ability to move silently and predict the victims every move.

3. A Convoluted Plot – The plot is all over the place. In the end, most of it makes sense, but it's nice to watch everything unfold before the final reveal. Maybe I'm just too easily taken in, but I would have never guessed the killer's true identity.

4. Beautiful Women – I don't' believe there's any need to say more than The Black Belly of the Tarantula features three Bond girls – Barbara Bach, Barbara Bouchet, and Claudine Auger.

It's all here and done with a healthy dose of style (however unoriginal much of it unfortunately might be). It's well done Italian fun!

7/10

The Fifth Cord (1971)

- Giornata nera per l'ariete
A remarkable looking film, 7 April 2006

Much of The Fifth Cord is what I would call average for a Giallo. The death scenes aren't that original, the murder investigation is often muddled and confusing, and, other than Franco Nero, I've seen far better acting in other Gialli. As for the mystery elements, The Fifth Cord doesn't really play fair. It seems all but impossible for the average viewer to figure out "who done it" based on the clues presented. Finally, the score is one of the more non-memorable pieces from Ennio Morricone I've heard recently.

But it's not all bad. In fact, when The Fifth Cord is good, it's very good. First, there's the look of the film. Director Luigi Bazzoni and Cinematographer Vittorio Storaro have successful made one of the best looking Gialli I've seen. Through a combination of brilliant framing, lighting, and location choices, almost every frame is like a work of art. There are some remarkable uses of light and shadows that are simply stunning. Second, the final scenes are as tense as any of the better known Gialli I've seen. It's real "on the edge of your seat" kind of stuff. Third, Franco Nero is a real professional and does a lot to bring life and realism to his role. I always enjoy his performances.

Overall, The Fifth Cord may not be the best Giallo in the world, but for fans of the genre, there's enough here to enjoy to make the film worthwhile. Also, today's filmmakers could learn a thing or two about making a film really standout visually from watching what Bazzoni and Storaro did in The Fifth Cord.

7/10

See No Evil (1971)

A great 2nd act, 31 March 2006

Finally! I've been looking for this movie for years. I can remember seeing See No Evil when I was much younger and it scaring the pants off me. It's not that the movie is hard to find or out-of-print or anything, but I've never known the name. I recently purchased the DVD as a blind buy and, to my surprise, it's the movie I've been looking for.

As I could have predicted, the film didn't live up to the lofty expectations I've placed on it over the years. The film starts much slower than I remembered. Now I'm one of these people who generally can tolerate the slowest moving films, but the first third of See No Evil is just painfully slow. Nothing happens and it seems to be going nowhere. I was also let down by the ending – or should I say the lack of an ending. The film just ends. I would have appreciated a little insight into who the killer was. He's just some guy as far as I could tell. I'm not one of those who needs to be spoonfed plot points to determine what's going on, but give me a clue about identity, motivations, and such.

The middle portion of See No Evil, however, is as good as I remembered. It's full of several tense moments and striking visuals, justifying my purchase of the DVD. The whole notion of a blind girl not knowing that those she shares the house with have been brutally murdered all around her is horrifying. The scene where the camera slowly pans to the other side of the blind girl's bedroom, revealing for the first time her dead cousin, is a real highlight. And Mia Farrow is great in the lead role. I really believed she was blind and I could really feel her terror as the movie progressed. It's an excellent performance from a terrific actress.

Even though See No Evil didn't evoke the same reaction it did during my childhood, I'm glad to have finally rediscovered this movie after so many years of searching.

6/10

The Strange Vice of Mrs. Wardh (1971)

- Lo strano vizio della Signora Wardh
A great example of the genre, 10 March 2006

The Strange Vice of Mrs. Wardh has just about everything a Giallo fan could ask for. All of the necessary ingredients are here: brutal murders, bizarre sex scenes, plot twists, interesting camera work, a nice score, and Edwige Fenech. - Brutal Murders: The killer uses a razor to slash his victims' throats to ribbons resulting in plenty of blood flow. - Bizarre Sex: I don't' know about you but beating the crap out of your partner prior to engaging in sex seems pretty bizarre to me. - Plot Twists: Just when you're sure you finally gotten a handle on the plot and solved the mystery, The Strange Vice of Mrs. Wardh gives you yet another twist to wrap your mind around. - Interesting Camera Work: The Strange Vice of Mrs. Wardh is a great looking film with unusual camera angle and lens choices. Visually, it's very pleasing. - A Nice Score: Even though composer Nora Orlandi's main theme is repeated throughout the film, I never get tired of hearing it. It's a hauntingly beautiful piece that helps set the mood of the film very well. - Edwige Fenech: The Queen of the Giallo.

The plot involves a crazed killer with an eye for women is on the loose. Julie Wardh (Edwige Fenech) is very much afraid because of the direct threats she has received from the killer. She's also convinced the killer is an ex-boyfriend. When the real killer is himself killed, that should put an end to Julie's fears. But it doesn't. The threats against Julie's life continue. I readily admit that there are plot holes big enough to drive a truck through and lapses in logic the size of the Grand Canyon, but that hardly matters when you're having this much fun with a movie. Blemishes and all, The Strange Vice of Mrs. Wardh is a great example of the genre and one of the reasons I keep seeking out these hard to find Italian gems.

8/10

Death Walks on High Heels (1971)

- La morte cammina con i tacchi alti
More plot twists than a mountain road and boatload of red herrings., 7 March 2006

A jewel thief is brutally murdered on a train by a masked assailant. But when the murderer is unable to locate any diamonds, the murderer immediately suspects that the thief's daughter, a Parisian stripper named Nicole (Nieves Navarro aka Susan Scott), may have the diamonds. Nicole, however, claims to know nothing of the diamonds. After a series of threats, both verbal and physical, Nicole decides to flee France with a man she hardly knows. The pair begin a seemingly ideal relationship in a secluded seaside village. But Nicole is unaware that the killer has followed her to England and will stop at nothing to get his hands on the diamonds.

What a fun Giallo! Death Walks on High Heels has one of the most convoluted plots I've run into – even by Giallo standards. While the movie may lack the quantity of murder scenes found in other Gialli (although at least one murder scene is as violent as they come), Death Walks on High Heels makes up for this shortcoming with more plot twists than a mountain road and boatload of red herrings. It had me guessing (incorrectly, I might add) up to the very end. It's all about the mystery and director Luciano Ercoli skillfully casts the shadow of suspicion on just about everyone in the cast. Much of the movie is told quite nicely in flashbacks with bits and pieces of the story being revealed as each person confesses to what they may or may not have seen. There's even a pair of bumbling Scotland Yard detectives who are (surprise, surprise) actually funny. Overall, Death Walks on High Heels is very well done.

The acting is a notch or two above what I've come to expect in a Giallo. The highlight, at least for me, is Nieves Navarro. She is amazing as Nicole. I didn't think I would ever say this, but I think she might have been capable of challenging Edwige Fenech in my mind as the Queen of the Giallo had she made a few more of these movies. I'm looking forward to checking out more of her work.

As much as I enjoyed Death Walks on High Heels, it's not without its flaws. Chief among them, at least to me, is a "cheat" with respect to one of the murders. I don't want to give anything away, but there is one particularly nasty murder that the killer could not have committed given the circumstances immediately following the murder. Hopefully, with repeat viewings, I can reconcile this point in my mind and just enjoy the movie for what it is.

Finally, and I'm really starting to sound like a shill, NoShame's new DVD is fantastic. I would have never dreamed that a movie like Death Walks on High Heels would look this good. Bravo NoShame!

7/10

The Night Evelyn Came Out of the Grave (1971)

- La notte che Evelyn uscì dalla tomba
Nice mix of Giallo and Gothic horror, 16 December 2005

Lord Alan Cunningham has been a troubled man since the death of his wife. The only release he can find from his torment is by luring women that remind him of his dead wife to his castle and then brutally murdering them. That is until he meets Gladys. The two are quickly married and Lord Cunningham appears to be cured. But a series of strange events involving the possibility that his first wife has returned from the grave seems to send him over the edge.

The Night Evelyn Came Out of the Grave is one part Giallo and one part Gothic horror. It's not the greatest example of either sub-genre you'll run across, but I was reasonably entertained throughout. There are plenty of twists and turns in the plot to keep you guessing up to the very end. While I've seen enough of these Gialli that I'm rarely surprised anymore, there's no way I could have predicted all the twists in the last act. The acting is about average for this kind of film, but it was nice to see Marina Malfatti with a large role as Gladys. Most of the rest of the cast will be familiar to fans of 70s Italian films.

A word of warning about the DVD – there are a bunch of El Cheapo DVD companies out there that offer The Night Evelyn Came Out of the Grave. One appears to be about as good as the other. The best that can be said about these DVDs is that they are watchable (and I'm being generous). If this sounds like a movie that would be of interest, I've read that NoShame DVD has acquired the Region 1 rights. Based on their track record, it should be worth waiting for. I'll definitely upgrade once it's released.

Edit (5/7/06): NoShame's new DVD of The Night Evelyn Came Out of the Grave is, in a word, stunning - especially when compared with what's been available until now in Region 1. I have a new appreciation for the film and actually enjoyed it much more than I did just a couple of months ago. It's like watching a whole different movie.

7/10

Lust for a Vampire (1971)

I wish Hammer had made more films with Yutte!, 23 November 2005

Lust for a Vampire is the second of Hammer's Karnstein films. While the first, The Vampire Lovers, was far from being great, it is a much better movie than this, the first sequel. The acting is weak, the male lead is very unsympathetic, Mike Raven comes across as a Christopher Lee wannabe, the sets are "too clean", and the plot is incredibly predictable. In all honesty, I've probably rated Lust for a Vampire too high. Other than a few good set pieces and Yutte Stensgaard, it's really doesn't have much going for it.

Set Pieces – The scene of Carmilla's resurrection may be one of my favorites from any Hammer movie. It's a wonderful mix of blood, nudity, and some Satanic mumbo-jumbo. The sight of the half-naked Carmilla literally covered in blood is not one that is easily forgotten.

Yutte Stensgaard – The best word I can think of to describe Stensgaard is "stunning". If she's in a scene, I defy anyone (at least any male) to not focus on her. She may not have been much of an actress, but as far as eye-candy goes, she's hard to beat.

5/10

Klute (1971)

Bravo for Fonda, 17 September 2005

John Klute (Donald Sutherland) is a small town detective who has been sent to New York to find a missing man. Bree Daniels (Jane Fonda) is a New York prostitute who may hold the key to the man's whereabouts. If Bree is to help Klute unravel the mystery, he must first protect her from a deranged stalker who seems to always be one step ahead.

I've always found it difficult to watch Jane Fonda and not let my personal feelings towards her get in the way of enjoying her work. I had no such difficulties while watching Klute. Fonda brings such life to Bree Daniels that it's easy to forget your watching a movie. It's one of the more convincing pieces of acting I've ever seen. While I've probably not seen all of the great performances from 1971, it would be difficult for me to imagine anyone deserved the Best Actress Academy Award more than Fonda.

Klute is also one of the more smartly written thrillers I've seen. Pakula uses the well written script to create believable characters who face realistic danger around every corner. The atmosphere and tension are almost palpable. There are moments that are as frightening as any horror movie. But Pakula refuses to go too far or over-the-top. I can well imagine that in the hands of a lesser director, Klute might have easily become a cheesy, throw-away slasher. Well done!

8/10