The House of the Yellow Carpet (1983)

Plot twists around every turn, 11 February 2017

The House of the Yellow Carpet is one of those movies where the less you know about, the more you're likely to enjoy it. With this movie, too much plot detail would be a bad thing. I'll just say that a young couple, Franca and Antonio, have a carpet (yellow of course) they'd like to sale. It was a present from Franca's stepfather, but it doesn't work in their small flat. While Antonio is away, Franca answers the door to an old man with an interest in buying the carpet. But is the carpet really all he came for? Anymore detail would seriously be too much. 

The House of the Yellow Carpet is s small, often claustrophobic, thriller/giallo with only four speaking parts. It's filled with more tension and suspense than many better known movies. I'd compare the feeling to something like Wait Until Dark. It's a little slow to get going, but once it does, it's edge of the seat type stuff. The acting is beyond first rate. Erland Josephson as the old man and Béatrice Romand as Franca give some of the best performances I've seen in a while. Just brilliant. And I can't say enough about director Carlo Lizzani. Every twist and turn in the script works flawlessly. This is a fantastic movie that deserves a much wider audience.

9/10

Seven Murders for Scotland Yard (1972)

Sorry, but I'm not a fan, 1 February 2017

After watching Seven Murders for Scotland Yard a couple of weeks ago, I initially rated the movie a 5/10. As I sat down to write this, however, I couldn't remember why I had been so generous. Sitting here, I'm having trouble coming up of anything positive to write.

I'm not really sure if there are actually seven murders in the movie or not. I wasn't counting and can't be bothered to go back and look. The exact number of murders, though, is the least of the problems I have with Seven Murders for Scotland Yard. Instead, my major issue with the film is the lack of originality. For example, for a movie with seven(?) murders, they're filmed with a complete lack of imagination. We've seen it all before and usually handled better. I wasn't expecting anything as masterful as Blood and Black Lace or Tenebre, but the murder scenes here are dull and horribly predictable in execution. They all look the same – cheap and nasty (and not in a good way). In fact, the whole film looks cheap and dirty – like it was filmed through a filter of muck. 

The plot doesn't do the movie any favors either. The killer is too easy to spot right from the start. The movie includes plenty of Giallo required red herrings and plot twists, but they'e so obvious they don't work. For example, a lot of time is spent trying to make the audience think that Paul Naschy's character might be responsible for the murders. But it never works because it's too easy to see through. There might as well be a sign flashing "Red Herring" above his head. Like much of the rest of the movie, the plot is dull and lifeless.

Finally, there's the cast. I couldn't find anyone to root for. In the past, I've made no secret about my general dislike for Naschy and, with Seven Murders for Scotland Yard, nothing has changed my opinion. His character even looks like the same guy he plays in most all of his movies – leather jacket, collar-less shirt, slacks, and dress shoes. I kept waiting for him to turn into a werewolf. Again, unoriginal. And then there's Renzo Marignano as Scotland Yard Inspector Henry Campbell. His methods of investigation were laughably unbelievable. In fact, I realized about half-way through the movie that he didn't remind me of an Inspector, but instead, he reminded me of Monty Python's Graham Chapman playing a Scotland Yard Inspector. 

Overall (an unfortunately), Seven Murders for Scotland Yard is a stinker in my book.

3/10

Death Carries a Cane (1973)

- Passi di danza su una lama di rasoio
Unoriginal and uninspired, 19 August 2009

While waiting for her husband to pick her up in a park, Kitty (Susan Scott) accidentally looks through a telescope just in time to see a woman brutally murdered. She doesn't see the murderer's face, but she is able to tell the police that the assailant was carrying a cane. In short order, another possible witness, a man who owns a chestnut cart, is murdered. The police initially suspect Kitty's husband, Alberto, who has mysteriously sprained an ankle. Even though the suspicions against the husband fall away, Kitty and Alberto are nonetheless drawn into the investigation.

Death Carries a Cane is a terrific example of what I'd call a "lesser" Giallo. The whole thing seems so unoriginal and uninspired that at times it can be a chore to watch. I had to wake myself at least three times the night I sat down to watch. Like many Gialli, the plot is convoluted, but in this case it's a mess – even after the final reveal. Usually, I have fun trying to follow the many ins and outs of the plot. Not here. It just bored me to tears. Like many Gialli, Death Carries a Cane features a variety of red herrings. But most are so obvious and ridiculous that they're hard to take seriously. For example, I've never seen so many characters carrying canes or walking with limps for no other purpose than to throw suspicion their way. Death Carries a Can even includes twins. Yes, twins! What a terribly tired old plot device. It's just lazy writing. Another perfect example of the problems with the plot comes near the end. In this kind of movie, it's always easier to kill a character if they're separated from the other characters. Two times it the film's last 15 minutes, Kitty's character splits from the rest to go to the bathroom. Yes, Kitty's weak bladder becomes a plot device. How stupid is that! And there are other problems besides the plot. Gialli are known for their visual flair and interesting look. Not here. Like the plot, the cinematography can also best be described as generally uninspired. It's dull looking. Finally, if it weren't for Edwige Fenech, Susan Scott could probably be considered the Queen of the Giallo. She's so underutilized in Death Carries a Cane that it ought to have been a crime. She disappears for a large chunk of the movie. And no offense meant to the other cast members, but none are anywhere near as interesting as she is. To be fair, Death Carries a Cane does feature a few interesting murder scenes, but these are too few and far between to really save the movie. Any other positives are hard to come by. This is one Giallo I wished I'd skipped.

3/10

The Scorpion with Two Tails (1982)

- Assassinio al cimitero etrusco
Martino's worst Giallo, 7 June 2009

He may not be quite as well known among casual fans of Italian genre films as the names Bava or Argento, but Sergio Martino is responsible for some of the absolute best Gialli ever made. His earlier, frequent collaborations with Edwige Fenech are almost legendary and produced some of the best films this genre has to offer. Movies like The Strange Vice of Mrs. Wardh, All the Colors of the Dark, and Your Vice is a Locked Door and Only I Have the Key are all among my favorites. Unfortunately, Scorpion with Two Tails does not come close to measuring up to Martino's previous successes. There are any number of problems I had with the film, but chief among them is that it's about as dull as any Giallo I can remember seeing. A plot involving an Etruscan Cemetery, a missing shipment of heroin, bad guys trying to find both, and a beautiful young woman with visions of Etruscan ceremonies – it just never drew me in the way Martino's other films have. Also, I never really cared for any of the characters. Elvire Audray plays the role usually played by Edwige Fenech in one of Martino's movies (she almost resembles a blond Edwige). But to be blunt, Elvire Audray is no Edwige Fenech. She has none of Edwige's screen presence or charisma. Genre legend John Saxon is on hand, but his role is so small that it really added nothing to the film. Saxon was most likely hired to put a "name" on the cast list. And when the killer was revealed, it had no effect on me at all. I didn't care enough about any of the characters to even care who the killer was. Also, I'm not a big fan of supernatural elements being thrown into a Giallo. These movies should be all about black gloved killers, stalking their human prey for greed, money, or jealousy. The risen spirit of an ancient Etruscan just doesn't feel right. As much as I hate to give a Martino Giallo such a low rating, I don't have a choice in this case. Scorpioin with Two Tails really doesn't deserve much more than a 3/10.

3/10

Blue Eyes of the Broken Doll (1976)

- Los ojos azules de la muñeca rota
A very average Giallo, 17 May 2009

Blue Eyes of the Broken Doll is a decent enough Spanish Giallo with enough twists and turns in the plot to make it reasonably entertaining. The biggest problem, however, is that it lacks the style I usually associate with the genre. The set-up is wonderful – a drifter, Gilles (played by Spanish horror legend Paul Naschy), is hired as a caretaker at a house inhabited by three beautiful women – all of whom have some sort of problem. Claude has a prosthetic arm, Ivette is wheelchair bound, and Nicole is a raging nymphomaniac. Gilles arrival coincides with a series of brutal murders. Gilles has a secretive past, but is he really capable of the string of vicious deaths? Don't worry, it'll all be sorted out in the end.

First - the good. As I've already indicated, I loved the set-up. The big old house full of crazy women provides a wonderful backdrop for the film's events to unfold. The acting is okay. I was most impressed with Diana Lorys' very sympathetic performance as the vulnerable Claude. Next, the plot will keep you guessing right up to the end with its numerous red herrings. Suspicion is thrown on just about everyone. And, even though the ending comes out of nowhere and hardly seems plausible, the final reveal has one of the things I love about Gialli – the total unpredictability of the finale.

But as my rating would indicate, there are things about Blue Eyes of the Broken Doll that didn't work for me as well as they could have. First, I'm not the biggest fan of Paul Naschy. I try and try to enjoy the man's work, but for the most part, I don't see the appeal. Next, the special effects are very weak – even for a low budget Giallo. The eyes look ludicrous. Finally, as I indicated in the opening, Blue Eyes of the Broken Doll lacks that style I look for in a Giallo. Leaving out the works of Dario Argento and Mario Bava, just compare this movie with the Gialli of Sergio Martino, Luciano Ercoli, or Emilio Miraglia and you'll quickly see what I mean.

In the end, I'll give Blue Eyes of the Broken Doll a weak 6/10, verging on a 5/10.

6/10

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

Do You Like Hitchcock? (2005) (TV)

- Ti piace Hitchcock?
I can't help but feel a bit disappointed, 17 August 2006

Maybe I get myself too worked up over a new Argento release because, once again, I'm somewhat disappointed. I wasn't expecting a return to the grand old days of Deep Red or Tenebre. I would have been satisfied with something along the lines of Sleepless. What I got with Do You Like Hitchcock? was something just barely above average. Yeah, I know, it's a TV movie. So what? Mediocre is mediocre. While there are some enjoyable moments in the film and instances where flashes of the old Argento shine through, these aspects of Do You Like Hitchcock? are offset by some equally unenjoyable, uninspired moments in the film.

The concept of a film that pays homage to Hitchcock is an interesting idea. For the most part, Argento and co-scriptwriter Franco Ferrini do an acceptable job of setting up tense and thrilling moments that would have made Hitchcock proud. The first kill scene is classic Argento. You know what's coming, but Argento drags it out and builds the tension until it's almost unbearable. Again, it's a classic Argento moment. Unfortunately, there are places where Do You Like Hitchcock? drags. Despite Argento's best efforts, the scene where the protagonist is trying to make a getaway on his moped in the rain goes on and on far too long. You know the character is in no real danger at this point in the film, yet Argento seems to insist on dragging out this non-suspenseful sequence with no payoff. It's a real low point in the movie.

The film's main Hitchcock inspirations are Rear Window and Strangers on a Train. And while Argento successfully plays the Strangers on a Train plot aspects, the Rear Window bits felt more like Argento paying homage to Brian De Palma paying homage to Hitchcock. The final scenes in Do You Like Hitchcock? have much more in common with De Palma's Body Double than they do Hitchcock's Rear Window.

Argento's films are known for their "look". Bright, vivid colors dominate much of Argento's earlier, more successful work. And there are moments in Do You Like Hitchcock? where you can see the Argento "look". The night scenes feature a variety of colors and interesting angles and are a throwback to Argento's previous films. There is one scene in particular of a red staircase with a purple handrail and unique lighting that could have been from Suspiria. But the daytime scenes are just the opposite. In comparison with the nighttime scenes, those shot in the day are downright pedestrian. They look as if anyone with a camera could have filmed these scenes.

There are a lot of aspects (acting, special effects, score, etc.) that I haven't even touched on, but I'll end this here anyway. Overall, I'm glad to have gotten the chance to see Do You Like Hitchcock? And while I was reasonably entertained throughout, I can't help but feel disappointed. Those hoping for a return to Argento's glory days will most likely feel the same disappointment.

6/10

Murder Rock (1984)

- Murderock - uccide a passo di danza
"You've got to grit your teeth and dance, even when a friend dies.", 20 July 2006

For those Lucio Fulci fans who only know him for his films like Zombi 2 or The New York Ripper, I can easily see how Murder Rock could come as something of a shock and disappointment. It has more in common with his film One on Top of the Other than it does the throat-gashing, chest-ripping, eye-gouging films Fulci is famous for. Murder Rock is virtually bloodless. It's odd that during the early to mid-80s, which are arguably Fulci's most violent and lurid period as a filmmaker, he reverted to a relatively tame film like Murder Rock.

That's not to say Murder Rock isn't enjoyable. There are enough Giallo elements in the plot involving a series of murders at a New York arts academy that I was reasonably entertained throughout. Murder Rock plays it straight and doesn't bring up some vital piece of information or suspect in the last minute that can sometimes make these films frustrating. However, and I realize that I may sound like I'm trying to have my cake and eat it too, but it's this straightforward approach that is also the film's biggest weakness. It was far too easy for me to spot "who done it". There are red herrings, but all of them are easily dismissed. I kept waiting for a plot twist that never materialized.

One area where Murder Rock excels is in its look. Fulci created a highly stylized world to set this Giallo. There are some interesting camera angles down corridors and through doorways that add a lot of suspense to the film. I was at first put-off by the lighting Fulci used in much of Murder Rock. I began to wonder if all of New York was lit by a slow pulsing strobe. But then I realized how effective this lighting was to Fulci telling his story. A lot can happen in the total darkness between the blinding flashes of light. Technically, I would rate Murder Rock as one of Fulci's best films.

Finally, a lot of the reviews I've read on Murder Rock tend to over-focus on the soundtrack. Sure, it's cheesy, outdated, and, at times, inappropriate. I won't deny that. At one point in the movie, I half expected to see Irene Cara pop up to do a song or two. But you've got to consider the timeframe this movie was made. Fame and Flashdance were very popular and Fulci was trying to cash-in on their success. And in that light, I think he was somewhat successful. Keith Emerson's score is a reasonable representation of the music used in movies of this type in the early 80s. Like it or not, it fits the film. I really wouldn't want to change any of it.

6/10

The Killer Reserved Nine Seats (1974)

- L'assassino ha riservato nove poltrone
These have to be some of the dumbest people ever assembled, 21 May 2006

The Killer Reserved Nine Seats is the Italian/Giallo take on Agatha Christie's Ten Little Indians. A group of people are gathered together and one by one murdered. In this case, nine people find themselves locked inside an large, old theater with a masked killer on the loose. Each person comes under suspicion as each seems to have had some sort of motive for the killings. While some of the bloody mayhem occurs off-screen, the murder scenes are the highlight of the movie.

Unfortunately, the rest of The Killer Reserved Nine Seats isn't nearly as good as the murder scenes. There's far too much talk. These people spend an inordinate amount of time discussing things which have no bearing on the film. And these have to be some of the dumbest people ever assembled. One at a time, they seem determined to investigate the dark passageways and poorly lit rooms of the theater, making themselves easy prey for the killer. Searching the theater might seem like a good idea, but how about taking someone with you? After a while, it just becomes tedious waiting for the next victim to go off alone. The plot also includes some supernatural elements that are out of place for this kind of movie. It just doesn't fit. Finally, the ending is a mess. Maybe it was just the cut of the film I saw, but nothing was made clear in the end. A woman thought to be dead wakes up, realizes she's okay, and walks out of the theater. Uh, whatever!

I'm a Giallo junkie. I've seen the best and the worst that the genre has to offer. I had been looking forward to seeing The Killer Reserves Nine Seats, so it pains me to place this one near the bottom of the heap.

4/10

Amuck (1972)

- Alla ricerca del piacere
Even with Barbara Bouchet and Rosalba Neri, it's surprisingly average, 20 May 2006

Given that Amuck features two of my Euro-favorites, Barbara Bouchet and Rosalba Neri, it's a surprisingly average giallo. Bouchet is a young secretary working for a publishing house. She becomes concerned when her friend and fellow co-worker goes missing. She gets assigned to the same writer (played by the dull Farley Granger) to investigate her friend's disappearance. She immediately suspects the writer and his lover, Neri, and must endure their sexual advances if she is to find her friend.

For a film of this type to be effective, I've found that it's important to believe the protagonist is in real danger. You have to believe that their investigations might lead to their death. Other than the duck hunting scene in Amuck, I never once felt that Bouchet's character was in any real sort of mortal peril. While there was a real chance she was going to be drugged and forced to have sex, I knew she wasn't going to die. Add to this the fact that the solution to the murder is laid out in the first 30 minutes and you've got no real tension or suspense.

5/10

The Young, the Evil & the Savage (1968)

- Nude... si muore
If nothing else, it's interesting from a historical perspective, 8 May 2006

Mario Bava is generally credited with creating the Giallo with his 1963 movies The Girl Who Knew Too Much and Blood and Black Lace. While a few more examples were made in the 1960s, the Giallo really took-off after Dario Argento released The Bird with the Crystal Plumage in 1970. I mention these two dates because I think they're important when discussing 1968's The Young, the Evil & the Savage because they point how early in the Giallo cycle it falls. Yet, strangely enough, the movie feels rater tired. It's difficult for me to explain why, but I'll give it a try.

Part of the problem is that even though The Young, the Evil & the Savage is an early Giallo, it's actually rather unoriginal. There's very little new ground broken in the movie. It plays like a cross between the previously mentioned Blood and Black Lace and the 1962 film Werewolf in a Girls' Dormitory. Replace the werewolf with a mad killer and copy some of Bava's murder scenes and you've got The Young, the Evil & the Savage.

Another factor that makes The Young, the Evil & the Savage feel tired is its rather staid, conservative look especially when compared with other films of the same period. There's really no comparison between this film and Lucio Fulci's One on Top of the Other made just a year later. Fulci's film has that hip, colorful, groovy feel to it that is definitely a product of the swinging 60s. To this day, it maintains its fresh and interesting look. The Young, the Evil & the Savage, on the other hand, has a feel and look to it of something much older. Visually, it has more in common with the previously mentioned 1962 film Werewolf in a Girl's Dormitory than it does something from 1968.

There are, however, a couple of reasons to see this movie. First, if you're a Giallo fan, the novelty of seeing such an early example should not be bypassed. From a historical perspective, it's an interesting film. Second, the final twist where the killer is revealed is quite well done and is easily the highlight of the movie. I'm seen a number of Gialli with underwhelming finales, so it was nice to see one where the ending was not only a winner, but the best thing about the movie.

* Edit: I just watched Dark Sky's new transfer of The Young, the Evil, and the Savage (or Naked You Die). Gotta say it was like watching a different movie. There's nothing like have a nice looking transfer with good sound and cuts restored to make you change your mind about a movie. It's still not the best Giallo I've ever seen, but my opinion has improved. Dark Sky's transfer gave the movie some of that funkiness I thought it so desperately needed. Things like the mod/matching clothes to the groovy title song really stood out. I'm definitely glad I gave it another chance.

6/10

Red Queen Kills 7 Times (1972)

- La dama rossa uccide sette volte
Nice looking Giallo with an awesome killer, 7 May 2006

What a fun movie! If you're a Giallo fan, Red Queen Kills 7 Times is a real winner. To begin with, it's hard to go wrong with Barbara Bouchet and Marina Malfatti in the same Giallo. Both are wonderful - especially the wide-eyed innocent Bouchet as the guilt ridden woman fearing for her life. The kill scenes in Red Queen Kills 7 Times are especially nice and feature enough blood to make most fans happy. One of the first murders comes rather unexpectedly and really gets the movie off to a good start. The killer, The Red Queen, is one of the most over-the-top and interesting looking murderers I've seen in an Italian movie. The 70s sets and fashions are wonderful. In fact, all the visuals are interesting with the laughing Red Queen running across the bridge at night being one of my favorite moments in the film. The convoluted plot held my interest throughout. Finally, Bruno Nicolai's score may be the best I've heard from the composer. The main theme is so memorable I haven't been able to get it out of my head for two days.

The only two issues I have with Red Queen Kills 7 Times come in the film's finale. First, the person responsible for the murders is far too easy to spot. If you've seen more than a couple Gialli, you won't have any problem determining who is behind the killings. Second, the ending feels a little too rushed and, as a result, is a bit confusing. I'm definitely not one who needs every plot point spelled out to me, but I'll admit to being at a loss to explain it all. A second viewing might just clear this up.

8/10

The Washing Machine (1993)

- Vortice mortale
With a name like The Washing Machine, I had no idea what to expect., 2 May 2006

In this latter day Giallo, Police Inspector Alexander Stracev is called to the home of three sisters to investigate a crime. One of the sisters claims to have found the mutilated body of a pimp named Yuri in her washing machine. When Inspector Stracev arrives, he finds no body and no sign of there having ever been a body. But the more he investigates, the more enthralled he becomes by each of the three sisters as they take turns trying to seduce him, tempting him with information about what happened to Yuri and accusing each other of responsibility for Yuri's disappearance. Inspector Stracev is not sure what he's on to, but he can't get away from it. The sisters keep drawing him in deeper and deeper.

With a name like The Washing Machine, I had no idea what to expect. What I found was an entertaining Euro-thriller that exceeded my somewhat guarded expectations. Director Ruggero Deodato (better known for his cannibal films) has created a very stylish (as stylish as Budapest, circa 1993, can be), quick moving and entertaining film that kept my interest from the opening scenes. The pacing is nice and I enjoyed the way Deodato allowed the plot to unfold in bits and pieces during several erotically charged moments. The mystery elements kept me guessing until the very end. There were questions I couldn't wait to be answered - Was there really a body in the washing machine? Are the three sisters as completely mad as they seem? Or, are these women using the Inspector as part of some sort of elaborate game? It's all very nicely done.

7/10

Murder Mansion (1972)

- La mansión de la niebla
If it weren't for those meddling kids......, 2 May 2006

As much as I enjoy Murder Mansion, don't take my enthusiasm for the film as some kind of recommendation. Although I don't like the term, I am fully aware that Murder Mansion is a "guilty pleasure" of mine. I realize that it's not really a very good movie, but I love it just the same. So watch it at your own risk and don't blame me if you don't like it. You've been warned!

If you do decide to give Murder Mansion a try, here's what you can expect: an incoherent plot that makes no sense regardless of the number of times I watch it; a beginning that seems to be leading nowhere; most likely, a bad, chopped-up transfer; silly dialogue; and plot holes big enough to drive a truck through. You'll also find what I call one of the best Scooby Doo moments I've seen. All that's missing is the "If it weren't for those meddling kids" line.

7/10

The New York Ripper (1982)

- Lo squartatore di New York
"Overall, it was a good, efficient butchery.", 29 April 2006

There's not much need to go into detail on the plot. Simply put, The New York Ripper is the story of a mad killer with a penchant for slashing young woman and harassing the police with his duck-like voice. That's really all you need to know.

The New York Ripper is Lucio Fulci's latter day ultra-violent take on the Giallo. When I say ultra-violent, I mean ULTRA-violent. If you're a fan of Fulci-style gore, there's surely something here for you. There's one scene where a girl's eye meets a razor that's particularly nasty and particularly difficult to watch. And, if you're a fan of Fulci-style sleaze, there's surely something here for you also. While I won't go as far as some reviewers and call it pornographic, there are a variety of sexual perversions on display. But it's not all blood and sex. Fulci actually manages to create a few scenes with real tension. There are moments where you know that killer is about to strike, but the anticipation Fulci builds in the audience is quite good.

Unfortunately, there are problems I have with the film. I'll limit this to two examples. First, the resolution of the mystery is a real letdown. The killer's identity is far too easy to guess. Fulci telegraphs the answer form the opening moments of the film. Second, Gialli often ask the viewer to suspend reality to accept various plot points, but the final scenes in The New York Ripper cross the line into ridiculousness and really hurts the overall film. I'm certainly no expert, but I sincerely doubt that all the psychological babble made any real sense to anyone.

7/10

One on Top of the Other (1969)

- Una sull'altra
My Favorite Fulci, 27 April 2006

Lucio Fulci may be best known for his zombie splatter-fests and that's a shame because he's really so much more than that. If you see the name Fulci and expect a gore-fest, you'll be disappointed. This one is even more bloodless than his other Gialli. But if you want a solid Italian thriller, you've discovered a real winner. I have no reservations about placing One on Top of the Other near the top of the list of the 60-odd Gialli I've seen. One on Top of the Other actually features very few, if any, horror elements. Instead, the movie focuses on two of the other Giallo trademarks – sleaze and mystery. And Fulci does a fantastic job with both. As for the sleaze, there's probably more nudity and sex in this movie than in Fulci's A Lizard in a Woman's Skin and Don't Torture a Duckling combined. As for the mystery elements, Fulci fills the film with enough red herrings and other mystery tricks for two or three movies. I was completely engrossed and entertained form the opening credits. Solid cinematography, nice San Francisco locations, an outstanding Riz Ortolani score, above average acting, and Marisa Mell make One on Top of the Other a new favorite of mine.

My only complaint (and it is admittedly a small one) is the amount of screen time showing the film's protagonist sitting on death row waiting to die. A little tighter editing during this 10 or so minute segment might have helped make One on Top of the Other the best Giallo I've ever seen.

I mentioned Marisa Mell in the opening paragraph and if you're a fan, you owe it to yourself to track down a copy of One on Top of the Other. She never looked better and I've never seen so much of her. Her motorcycle striptease scene is worth the price of admission. Check it out!

9/10

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

Delirium (1972)

- Delirio caldo
Requires a rewatch., 25 April 2006

As I've written any number of times, one of the things I enjoy most about Italian films is their convoluted plots. I've rarely run across a Giallo that I have difficulty making sense out of after it's over. But I've met my match with Delirium. It's a movie that I'm definitely going to have to watch again to fully comprehend what's going on.

From what I did get out of the movie, Delirium is the story of a police psychologist investigating a string of murder that he himself may be responsible for. A number of young girls are killed in a variety of explicit and shocking ways. The doctor's wife appears to understand her husband's madness, but is so in love with him that she actively protects him. But can she also protect herself either from her husband or from going mad? (At least this is what I think the film is about.)

Those interested in a variety of explicit and imaginative kills should find something to enjoy in Delirium. My "favorite" may be the first when the girl is stripped and killed in the river. As he proved in Bloody Pit of Horror, Mickey Hargitay could play a completely insane, over-the-top killer with the best of them. He may not have been the greatest actor in the world, but I certainly appreciate the passion and energy he brought to his films. If you're more into the sex aspects of Gialli, there's plenty of that found in Delirium. The most obvious example is the dream sequence where Hargitay is chained by his neck and forced to watch his wife, his niece, and his maid engage in a sexual romp. But, if you watch Gialli for the mystery aspects and to try to figure out "who done it", as I've indicated, Delirium may not be the best Giallo for you.

5/10

Scenes from a Murder (1972)

- L'assassino... è al telefono
The Uber-Cool Telly Savalas, 23 April 2006

Scenes from a Murder is a fairly rare giallo that I felt fortunate to have found in a used video store. The movie stars the uber-cool Telly Savalas as a stalker. The woman he's after has amnesia and has trouble remembering simple things like where she lives or that her lover died five years previous. For whatever reason, her family and friends allow her to wander aimlessly around the city. For the first 2/3 of the movie, that's pretty much all we get – a woman with amnesia stumbling around the city with the every present Savalas close behind. It's not very exciting and not very entertaining. It's not until the final third that anything really happens. The scenes of Savalas close on the woman's heels through an abandoned sound stage are effective but account for far too little of the movie. These scenes and the final revelation keep this from being a completely wasted experience.

5/10

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