MY DEAR KILLER

MY DEAR KILLER (aka Mio caro assassino/1971. Director: Tonino Valerii.

Inspector Luca Peretti (George Hilton) is called in when a man named Paradisi (Francesco Di Federico) is beheaded by an excavator machine which he had rented to dig into a swamp. Peretti discovers that Paradisi was an insurance investigator, and had been assigned to a case where a little girl, Stefania, was kidnapped, with dire results. As Peretti tries to learn more about this case, there are a whole series of other killings, with the victims always being somehow involved with the kidnapping even in oblique ways. One teacher is attacked by an assailant wielding a portable saw. Peretti gathers the suspects together and confronts them with a surprise bit of evidence that the child herself was directly responsible for. 

George Hilton investigates

My Dear Killer is a complex, often fascinating giallo that seems a touch far-fetched at times but never goes completely over the edge. George Hilton [The Dark is Death's Friend] is fine as the detective, as is William Berger [The Murder Clinic] as one of the suspects. Both actors appeared in a number of international productions and horror films. Ennio Morricone's musical score is quirky and unnerving and adds much to the film's effectiveness. Director Tonino Valerii stages some sequences quite well and the film is undeniably creepy and suspenseful. Not quite on the Dario Argento level but interesting.

Verdict: Imperfect but effective giallo with some striking sequences and an interesting plot. ***. 

PARANOIA

Carroll Baker and Lou Castel

PARANOIA (aka Orgasmo/1969). Director: Umberto Lenzi. 

Kathryn (Carroll Baker), recently widowed, moves into her wealthy late husband's fabulous estate in Italy. Her only companion is the dyspeptic housekeeper, Teresa (Lilla Brignone), with occasional visits from family lawyer Brian (Tino Carraro), who wants to marry her. Into her life pops hunky Peter (Lou Castel), a comparatively penniless young man who moves in on Kathryn and eventually into her home. Then who should show up but his free-spirited sister, Eva (Colette Descombes), who seems to have a hankering for Kathryn. But is Eva really Peter's sister, or something more? It isn't long before Kathryn begins to regret ever meeting the couple. 

Baker, Castel, Descombes

Paranoia is an entertaining and well-acted suspense-thriller that presents some truly despicable villains even if their victim isn't entirely sympathetic. There's another twist at the end and a satisfying denouement. This is one of several films that Baker did for director Umberto Lenzi. (This is not to be confused with another Baker/Lenzi collaboration entitled Paranoia or A Quiet Place to Kill.) Lou Castel was a Columbian actor who appeared in a number of Italian/International productions. Like most of the other films Baker did with Lenzi, lesbianism or bisexuality figures in the plot. Most of the others remind one of Diabolique, but not Paranoia.

Verdict: Absorbing story with intriguing plot and some very good players. ***. 

AMUCK!

Barbara Bouchet and Farley Granger

AMUCK! (aka Alla ricerca del piacere/1972). Director: Silvio Amadio. 

Greta Franklin (Barbara Bouchet of Danger Route) is sent from a New York publishing house to Venice to be the new secretary for author Richard Stuart (Farley Granger of The Slasher ... is the Sex Maniac). His last secretary, Sally (Patrizia Viotti) disappeared, and Greta hides the fact that she not only knew Sally, but was her lover, and wants to find out what happened to her. The other people in the household include Richard's wife, Eleonora (Rosalba Neri), who drugs and makes love to Greta, and fisherman Rocco (Petar Martinovitch), who lives in a nearby cottage. Greta eventually begins a relationship with Richard, but his story of what actually happened to Sally may not be the complete truth. 

Rosalba Neri and Petar Martinovitch

Amuck! is an interesting, well-acted giallo film with an absorbing storyline and some memorable sequences, such as a suspenseful bit when Greta has to be rescued from quicksand by Commissioner Antonelli (Nino Segurini), and the sexy flashback sequence to the death of Sally. As in many giallo films, the women all seem to be predatory bisexuals, sleeping with and romancing men but coming on to other women with abandon -- all of this not for any edification of sexual lifestyles or orientations but to turn on some of the male viewers. Silvio Amadio also worked with Neri in Smile Before Death. 

Verdict: Intriguing Italian mystery with lots of naked breasts for those who like that sort of thing. ***. 

SMILE BEFORE DEATH

Silvano Tranquilli and Rosalba Neri

SMILE BEFORE DEATH (aka Il sorriso della iena/1972). Director: Silvio Amadio. 

After her mother Dorothy's supposed suicide, teenager Nancy Thompson (Jenny Tamburi) leaves school and comes home, where she meets her late mother's photographer friend, Gianna (Rosalba Neri of The French Sex Murders), and her stepfather, Marco (Silvano Tranquilli of The Slasher ... is the Sex Maniac). The housekeeper Madga (Dana Ghia) knows that Dorothy (Zora Gheorgieva) wanted to divorce the greedy, philandering Marco and had taken a lover of her own (Hiram Keller of Fellini Satyricon). Nancy develops an attraction for her stepfather which he does nothing to discourage, and then seems to make a play for Gianna. Nancy tells Gianni that she thinks Marco murdered her mother and may be trying to kill her as well ... 

Dana Ghia and Jenny Tamburi

Smile Before Death has a twisty and interesting script and some good performances but is nearly done in by very listless direction and a score that could best be described as hideous. The first half of the film is relatively uneventful and tedious, but there are clever developments in the second half. The main twist at the end of the film is kind of silly, but there's a highly satisfying coda afterwards. As usual, there's a brief lesbian love sequence. At least the script is fairly unpredictable.   

Verdict: Half of a good movie. **1/4. 

DEADLY INHERITANCE

Tom Drake and Valeria Ciangottini

DEADLY INHERITANCE (aka Omicidio per vocazione/1968). Director: Vittorio Sindoni. 

When Oscar (Arnaldo De Angelis), the supposedly poor patriarch of a family, is killed, it turns out that he was actually wealthy. However his will has a stipulation that none of his daughters -- Simone (Femu Benussi), Rosalie (Giovanna Lenzi) and Colette (Valeria Ciangottini) -- are entitled to anything until their adoptive brother, Janot (Ernesto Colli), turns twenty-one in three years. This does not sit well with Rosalie's husband, Leon (Ivo Garrani), who has serious debts, while Simone is hoping to give her married lover, Jules (Isarco Ravaioli), enough money to divorce his shrewish wife, Natalie (Alessandra Maravia). When some of these people wind up dead, Inspector Greville (Tom Drake of Date with Disaster), assisted by Etienne (Virgilio Gazzolo), has to find out who the killer is. 

Drake with Femi Benussi

Deadly Inheritance suffers from too much padding -- a business involving one of the main suspects running away from the police -- and running and running -- goes on forever, for instance -- and it doesn't have much style or directorial panache. Some of the acting is amateurish as well. What this Italian nominal giallo film has going for it is an absorbing plot and a couple of good and unexpected twists at the end (although they are a bit far-fetched). An unintentionally comical scene has a character lighting a candle to walk up a supposedly dark staircase only the staircase is so brightly lit that it's like daylight! 

Verdict: Unexceptional but watchable Italian thriller. **1/2. 

WATCH ME WHEN I KILL

 WATCH ME WHEN I KILL (aka Il gatto dagli occhi di giada/1977). Director: Antonio Bido. 

Mara (Paola Tedesco), an actress who needs some aspirin, is nearly on the scene when a pharmacist is murdered, and the killer seems to think she knows more than she does. When another person is brutally murdered, her boyfriend Lukas (Corrrado Pani), thinks it all may have to do with a jury trial and a murderer who has escaped from prison. Upon further investigation -- and more murders -- Lukas realizes that there is something very different at play here. But will he arrive at the solution before either he or Mara become victims of the killer?

Watch Me When I Kill is an intriguing and suspenseful movie with a convoluted plot and solution that reminds one quite a bit of the storylines of Dario Argento's movies. Alas, director Antonio Bido is not Argento, and aside from one energetic if clumsy bathtub murder (with opera in the background), the film doesn't have much style. Lukas spends an awful lot of time running around from place to place asking questions. An unusual aspect of the movie is that for once the killer has a perfectly plausible motive for snuffing certain individuals. The screenplay is not strictly logical, however. 

Verdict: Take with a grain of salt and this is quite entertaining. ***.  

THE FISH WITH THE EYES OF GOLD

Ricardo Vazquez and Wal Davis

THE FISH WITH THE EYES OF GOLD (aka El pez de los ojos de oro/1974). Director: Pedro L. Ramirez.

In Girona, Spain Zachary (Ricardo Vazquez) witnesses the murder of a woman on a beach by an assailant wearing a scuba outfit. Coincidentally his friend, Derek (Wal Davis), spends the night with a woman who picks him up and when he awakens finds her butchered in the bed. The Inspector (Barta Barri) is suspicious of Derek, who maintains his innocence. Meanwhile the murders continue, and Derek comes to suspect Marco (Rex Martin), a gigolo who is having an affair with Zarchary's wife, Virginia (Norma Kastel). Derek also begins a relationship with Marina (Ada Tauler), whose grumpy father runs an aquarium. While Derek and Zachary are on their way to confront Marco, the brakes on their car fail ... someone is out to keep them from finding out who the killer is. It all seems to tie in with a piece of jewelry shaped like a bizarre fish ... 

Ada Tauler as Marina

The Fish with the Eyes of Gold is a pitiful attempt to come up with a twisty, convoluted, Dario Argento-type shocker along the lines of The Bird with the Crystal Plumage. Forget it! -- this dull movie has a silly and confusing plot line, a poor musical score, virtually no suspense or style, and if you keep watching it's only because you want to learn who the killer is and what his or her motive might be. It's not worth waiting around for. One murder -chase sequence is presented in slow-motion, which makes it even less exciting. One victim is stabbed in the shower, a scene that does not compare favorably with Psycho. 

Verdict: Very poor Spanish giallo. *1/2. 

EYE IN THE LABRYINTH

Rosemary Dexter and Michael Maien

EYE IN THE LABRYINTH (aka L'occhio nel labirinto/1972). Director: Mario Caiano. 

Julie (Rosemary Dexter) goes in search of her missing boyfriend, Lucas (Horst Frank of So Sweet ... So Perverse), a psychiatrist who went off for a weekend and never returned. With the assistance of an old goat named Frank (Adolfo Celi of Ten Little Indians), the trail leads her to the beautiful villa of Gerda (Alida Valli), who invites her to stay but denies knowledge of Lucas. Gerda has a much younger boyfriend named Louis (Michael Maien), as well as several house guests, including Toni (Sybil Danning) and trans woman Corrine (Peter Krause). But Julie not only discovers unsavory things about Lucas -- and indeed Gerda and her guests -- but there are indications that everyone is lying about Lucas and his whereabouts. When there is more than one attempt on Julie's life, she must again rely on Frank's help, but will she be able to fight off his advances? And if somebody murdered Lucas, who was it? 

Alida Valli

Eye in the Labryinth can be confusing, but everything in this twisty thriller comes together at the end. Unlike a lot of giallo films, this is not a slasher flick with a mad killer on the loose -- at least not in the typical sense, although there are a couple of homicides. The direction and production values are nothing special, the score is pretty bad, the acting is more than acceptable. Benjamin Lev makes an impression as Saro, a horny orphan boy who comes to a very bad end. Dexter was a Pakistani actress; Austrian-born Danning had a run as a "B" movie queen without ever breaking out into mainstream success. Alida Valli was the star of Hitchcock's Paradine Case, but her American career did not last long. 

Verdict: Imperfect but interesting Italian murder mystery. **3/4. 

A WHITE DRESS FOR MARIALE

Ida Galli and Ivan Rassimov

A WHITE DRESS FOR MARIALE (aka Un bianco vestito per Mariale/1972). Director: Romano Scavolini.

Paolo (Luigi Pistilli), who lives in a cluttered castle on an isolated estate, is married to the emotionally-disturbed Mariale (Ida Galli). Unbeknownst to her husband, she has invited several of their friends to their home. These include Massimo (Ivan Rassimov of The Strange Vice of Mrs. Wardj), Mercedes (Pilar Velazquez), Sebastiano (Ezio Marano), Jo (Giancarlo Bonuglia), Semy (Shawn Robinson), and her rather racist boyfriend Gustavo (Edilio Kim). As the evening proceeds the guests indulge in fun and games, dressing up in costumes they find in the basement. After an hour -- yes an hour -- of what mostly amounts to sheer tedium, at last there is a murder (and the almost obligatory lesbian love scene), after which virtually the entire cast is violently dispatched. Is the killer Mariale or Paolo? Who do you think? (The sinister butler, Osvaldo, played by Gengher Gatti, is one of the first to go.)

Luigi Pistilli

I would not be surprised if the ugly estate featured in this movie came first, with a script being hastily built around the location. Poor Luigi Pistilli [Your Vice is a Locked Room and Only I Have the Key], who was a serious theater actor in addition to being in several of these giallo films, has little choice but to wander around the castle in a state of bored ennui, just waiting for the damn thing to be over -- like the audience. One sequence shows an apparent wind storm that somehow manages to occur in the basement, but even this doesn't stay very interesting for long. There is absolutely no elan to the many murder sequences, and the whole thing has a disjointed, cheapjack ambiance to it. 

Verdict: Simply terrible giallo. *. 

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY

Luigi Pistilli and Anita Strindberg

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (aka Il tuo vizio e una stanza chiusa e solo io ne ho la chiave/1972). Director: Sergio Martino. 

Dissipated author Oliverio Rouvigny (Luigi Pistilli of The Case of the Scorpion's Tail), who has writer's block and is supposedly impotent, spends his time in his crumbling mansion being cruel to his wife, Irina (Anita Strindberg) and maid, Brenda (Angela La Vorgna). Oliverio instantly becomes a suspect when one of his mistresses, Fausta (Daniela Giordano of The Night of the Scorpion), is found slashed to death. More murders follow as the killer is seemingly unmasked. If this family weren't dysfunctional and toxic enough, along comes the Rouvigny's niece, Floriana (Edwige Fenech), a free spirit who sleeps with both aunt and uncle, and picks up an attractive boyfriend along the way. As a nasty cat named Satan runs around attacking Irina's doves and Irina herself, Floriana suggests a way she can rid herself of Oliverio ... 

Fenech and Strindberg

Your Vice is a wild giallo -- often ridiculous and illogical but always amusing -- that combines a mad slasher or two with marital discord, sadomasochism (of an emotional kind), and even a dollop of Edgar Allan Poe what with that black cat and its activities. Pistilli offers a virile portrait of an obnoxious monster, while Strindberg gives one of her best performances as his put-upon, dissatisfied wife. Fenech, despite her obvious assets, looks almost plain and boyish in this, especially compared to the gorgeous Strindberg. (Fenech only bares her breasts with male lovers, but is more modest when she gets it on with Strindberg. The lesbian aspects are clearly meant for titillation and not any insight into homosexual relationships. Director Martino probably couldn't resist putting two sex symbols of giallo films into bed together.)  Ivan Rassimov of The Strange Vice of Mrs. Wardj -- also directed by Martino and starring Fenech -- has a small but pivotal role. 

Verdict: One strange household -- and lots of twists. ***. 

THE POLICE ARE BLUNDERING IN THE DARK

Francisco Cortez eyes the spy camera

THE POLICE ARE BLUNDERING IN THE DARK/La polizia brancola nel buio/1975). Director: Helia Columbo. 

When his girlfriend, Enrichetta (Margaret Rose Keil), asks him to come pick her up when her car breaks down, journalist Giorgio (Joseph Arkim) is in bed with another woman. When he goes to find Enrichetta at an inn where she spent the night, he discovers she has disappeared. Is she the latest in a line of women who have vanished? Giorgio's investigation -- if that's even what it can be called -- takes him to the villa of crippled photographer Edmondo Parrisi (Francisco Cortez), who has a bust in his dining room that takes photos of his guests. Parrisi has invented a camera that supposedly takes pictures of human thoughts (an interesting idea that really goes nowhere). When the attacks on women continue, suspicion falls upon both Parrisi and his doctor, Stefanelli (Richard Fielding). Other characters include the weird porter Alberto, the horny maid Lucia, who tries to get it on with Giorgio, and a mentally deficient man who is the son of the inn owner.  

The title of The Police are Blundering in the Dark comes from a headline in a newspaper, as the authorities have little to do with the plot of this movie. The matter-of-fact murder scenes are not that gruesome or exciting, and have only minimal suspense. A bizarre aspect of the movie is that Parrisi is impotent so his wife, Eleonora (Halina Zalewska) forces (?) their niece, Sarah (Elena Veronese), to give her sexual pleasure, something that is never shown but only referred to by Sarah -- and then Eleonora, to her husband -- who seems desperate to get away from the villa with Giorgio. Aside from being yelled and lunged at by Parissi, Eleonora gets no particular comeuppance, and the whole business just seems dragged in to make the woman a possible suspect (it can hardly be considered a serious examination of homosexuality). In any case, Police are Blundering may hold your attention, but as giallo films go it doesn't amount to much. 

Verdict: Lots of breasts flashing and not that much else. **.   

WHO SAW HER DIE?

George Lazenby

WHO SAW HER DIE? (aka Chi l'ha vista morire/1972). Director: Aldo Lado. 

Sculptor Franco Serpieri (George Lazenby) and his estranged wife, Elizabeth (Anita Strindberg of The Case of the Scorpion's Tail), are horrified when their young daughter, Roberta (Nicoletta Elmi) is the latest victim of a deranged child murderer. Meanwhile the unknown killer, who may or may not be female, begins obliterating anyone who knows the truth about his or her identity. As the body count rises, Franco begins to eye a number of suspects, including wealthy Serafian (Adolfo Celi of Ten Little Indians), his secretary and mistress Ginevra (Dominique Boschero of Secret Agent Fireball), her lover Philip (Peter Chatel), and others. It is no surprise when the maniac then targets Franco and his wife ... 

Anita Strindberg

George Lazenby had starred as James Bond in On Her Majesty's Secret Service three years earlier, but it was his decision not to do any more 007 adventures, a decision he apparently regretted later on. Initially he is unrecognizable with his mustache and long hair, but he is also quite skinny, having lost a lot of weight since playing Bond. As most of the cast are dubbed in this it's impossible to truly judge the acting, but everyone seems credible and effective. Celi, of course, was the villain in Thunderball with Sean Connery. 

Adolfo Celi

Who Saw Her Die? has a very interesting and absorbing screenplay, although perhaps it's more convoluted and confusing than it needs to be. Filmed almost entirely in Venice, it benefits from great location shooting. Ennio Morricone's musical score consists of children's choruses, two of which are quite pretty, but the chorus he uses for murder sequences and the like quickly becomes intensely irritating. Despite its disjointed quality, Who Saw Her Die?  is suspenseful, and the identity of the killer may come as a surprise (although there's hardly anyone left at the end). 

Verdict: Intriguing giallo film with a very interesting cast. **3/4. 

STRIP NUDE FOR YOUR KILLER

STRIP NUDE FOR YOUR KILLER (aka Nude per l'assassino/1975). Director: Andrea Bianchi. 

After a woman dies during an abortion, the doctor (Gianni Airo) covers it up by having an unseen assistant dump her body in her bathtub. Not much later there are a series of murders tied to the Albatross modeling agency. Initial victims include a photographer's assistant, Mario (Claudio Pelligrini), hopeful model Lucia (Femi Benussi), and others. Among the chief suspects are the agency's owners, Gisella (Amanda) and her obese, impotent husband, Maurizio (Franco Diogene), not to mention gal-happy photographer Carlo (Nino Castelnuovo). Magda (Edwige Fenech) is a photographer's assistant who isn't certain if she wants to pursue a career with a camera or as a model. Meanwhile the killer stalks his victims while dressed in a black leather motorcycle outfit complete with helmet and butcher knife. Fenech and the other ladies in the film take off their clothing as much as possible, and a couple of the men, including Diogene, do the same. 

Edwige Fenech and Nino Castelnuovo

While not on the level of the best of Dario Argento, Strip Nude for Your Killer is an intriguing giallo film with plenty of murders and some suspense over the identity of the killer and his or her motives. The murder sequences, while not distressingly graphic, are nevertheless tense and creepy. The softcore sex scenes are rather more graphic and seem to go on forever. Although the film is sub-titled, some of the actors -- particularly French star Fenech -- seem dubbed. The acting is more than adequate, and the director keeps things moving at a good pace. Ten years earlier Castelnuovo starred in The Umbrellas of Cherbourg. 

Verdict: One of your better giallo films. ***.  

THE CASE OF THE SCORPION'S TAIL

George Hilton

THE CASE OF THE SCORPION'S TAIL (aka La coda dello scorpione/1971). Director: Sergio Martino. 

Lisa Baumer (Ida Galli) discovers that her wealthy husband has died in a plane crash, and flies from London to Athens to claim a one million dollar insurance policy. Insurance investigator Peter Lynch (George Hilton) rescues her when her late husband's former mistress, Lara (Janine Reynaud), and a hulking associate, threaten her it she doesn't turn over half the money. Peter is confused to learn that Lisa cashed the insurance check and has booked a flight out of the country. Meanwhile a figure in a black mask, outfit and gloves, is attacking assorted people involved in the case with knives. Peter teams up with reporter Cleo Dupont (Anita Strindberg) to get to the bottom of things. 

Anita Strindberg

The Case of the Scorpion's Tail is a pleasant surprise, one of the few giallo films that has a truly interesting and twisty plot along with a few surprises. In that way it reminds one of a Dario Argento film except for the fact that Sergio Martino's direction is nowhere near as stylish as Argento's. However, there are still some good scenes in this, such as a suspenseful attack upon Lara in her gothic-like townhouse, and an exciting finale that reveals the true perpetrator. George Hilton, an attractive actor from Uruguay who appeared in a number of giallo films such as The Strange Vice of Mrs. Wardh, gives a strong performance, as does the quite beautiful Swedish actress Anita Strindberg, as well as Reynaud as the bitchy Lara, Luigi Pistilli as Inspector Stavros, Alberto de Mendoza as an Interpol agent; and others. The title has to do with a pair of cufflinks found at a crime scene. If this movie only had somewhat better characterization and a much better musical score, it really would have been a contender, but it's quite entertaining as it is. NOTE: Not to be confused with The Night of the Scorpion or The Black Scorpion!

Verdict: Superior giallo. ***.  

A DRAGONFLY FOR EACH CORPSE

Paul Naschy and Mariano Vidal Molina

A DRAGONFLY FOR EACH CORPSE (aka Una libelula para cada muerto/1975). Director: Leon Klimovsky. 

In Milan Inspector Paolo Scaparelli (Paul Naschy, who also co-wrote the screenplay) has been assigned to catch a serial killer who goes after people he believes to be immoral and always leaves a plastic dragonfly on top of each corpse. As the bodies pile up -- and there are quite a few -- Paolo's girlfriend, Silvana (Erkia Blanc of So Sweet ... So Perverse), thinks she's come up with an important clue, which he, unfortunately, dismisses. 

Erika Blanc with Naschy

Dragonfly is a Spanish imitation of an Italian giallo film and it's better than a lot of them. While Leon Klimovsky's direction doesn't have much style to it, the film does work up a lot of suspense, and has many flavorful aspects to it. Naschy, who many consider the King of Spanish horror films, is a unique and unusual-looking leading man. Angel Aranda of Planet of the Vampires is one of the suspects and Mariano Vidal Molina is Naschy's boss, the police commissioner. One odd thing is that the police never seem to try to find out where the plastic dragonflies were manufactured or sold. Otherwise, this is quite interesting.

 Verdict: Absorbing murder mystery from Spain. ***.  

THE SLASHER ... IS THE SEX MANIAC

THE SLASHER ... IS THE SEX MANIAC (aka Rivelazioni di un maniaco sessuale al capo della squadra mobile/1972). Director: Roberto Bianchi Montero. 

"I may be homosexual but I am not homicidal!" -- "Cleopatra." 

An unknown killer is running around murdering women who are having affairs. The maniac leaves photos of the women and their lovers, although the latter's faces are scratched off. (Which begs the question: how can the police be so certain that the man in the photo is the lover and not the husband? At least we know that the killer gets the photos while stalking his victims.) In any case Inspector Capuana (Farley Granger) is assigned to track down the killer and pursues a number of leads before getting distressing information about the extracurricular activities of his own wife (Sylva Koscina of Hercules Unchained). Along the way he consults with Professor Casali (Chris Avram of The Killer Reserved Nine Seats), stumbles over a number of corpses, and interviews the lawyer Santangeli (Silvano Tranquilli), who's having an affair with a neighbor even as his own wife goes off for a dalliance. (You need a scorecard to count the affairs as well as the corpses.) Farley Granger, Koscina, and the other cast members acquit themselves professionally and the film is undeniably suspenseful, with a satisfying climax. Luciano Rossi plays the weird Gastone and Nieves Navarro is another victim. 

NOTE: New hardcore footage with porn star Harry Reems was inserted -- no pun intended -- into this film under the title Penetration. It was taken out of release in the U.S. after Farley Granger threatened a lawsuit. 

Verdict: Definitely one of the better giallo films. ***

THE FRENCH SEX MURDERS

Anita Ekberg

THE FRENCH SEX MURDERS (Casa d'appuntaento/1972). Director: Ferdinando Merighi. 

In Paris Madame Colette (Anita Ekberg) runs an exclusive brothel. One night Francine (Barbara Bouchet of Agent for H.A.R.M.) is murdered and her jealous suitor, Antoine (Peter Martell), is the main suspect. Escaping from custody after being convicted and vowing revenge on everyone, Antoine is beheaded in an accident. For unaccountable reasons Professor Waldermar (Howard Vernon) wants the severed head for "experiments" and is granted its disposition by his friend, the Judge on the case, George Teschi (William Alexander). In the meantime a sinister figure is running about violently killing people involved in the case while Inspector Fontaine (Robert Sacchi) pursues all leads, investigating not just Madame Colette but Pepi (Rolf Eden), owner of a nightclub and his associates, including sometime girlfriend Marianne (Rosalba Neri). While all this is going on the professor's assistant, Roger (Franco Borelli), tries to pursue a relationship with the man's daughter, Eleonora (Evelyne Kraft). Another suspect/potential victim is Dick Randall (Renato Romano), a reporter who is doing a story on French prostitutes. 

Robert Sacchi and Rosalba Neri

Robert Sacchi not only resembles Humphrey Bogart, but whoever dubbed his voice makes sure he sounds a lot like Bogie as well, including the trademark lisp. French Sex Murders is reasonably absorbing and intriguing, although the many murder sequences are not handled with any particular elan. Director Merighi simply repeats the same shot of a throat being slashed, head lopped off and so on five times, as if he has no clue of how to stage an effective kill scene. Filmed on Paris locations, including the Eiffel Tower, this is a true International production: Italy-France-West Germany. Sacchi was born in Italy, raised in the Bronx, and starred as The Man with Bogart's Face. This film was his first credit. 

Verdict: So-so giallo with some interesting aspects. **1/2. 

NINE GUESTS FOR A CRIME

Arthur Kennedy at the wheel 

NINE GUESTS FOR A CRIME (aka Nove espiti per un delitto/1977). Director: Ferdinando Baldi.

Liberto (Arthur Kennedy of Impulse) takes members of his family for a two-week vacation on his private island. His guests include his young, unfaithful wife, Giulia (Caroline Laurence), who only married him for his money; his sons Lorenzo (John Richardson of Torso) and Michele (Massimo Foschi); their wives Greta (Rita Silva) and Carla (Sofia Dionisio); psychic Patrizia (Loretta Persichetti); son-in-law Walter (Venantino Venantini); and Aunt Elisabetta (Dana Ghia). For the first few hours they spend their time on the island berating each other and cheating on their spouses. Then one of the members of the party drowns. A killer begins stalking the others, and Elisabetta talks hysterically of how her lover Charles was murdered and buried on the island twenty years before ... 

John Richardson

Nine Guests keeps you watching, but the film has absolutely no style and very little tension. Characterization only consists of people being bitchy with each other and talking about how much they all hate each other -- to say these people are unsympathetic is an understatement. The gore is minimal, and a severed head that tumbles off a bed looks just like the phony prop it is. Some of the murder scenes are actually comical, and when the killer is revealed you can't quite imagine that this particular person could be responsible for all of these deaths. 

Verdict: Mediocre giallo. **1/4.

THE KILLER RESERVED NINE SEATS

Chris Avram

THE KILLER RESERVED NINE SEATS (aka L'assassino ha riservato nove poltrone/1974. Director: Giuseppe Bennati. 

Patrick Davenant (Chris Avram) recently broke off his engagement to Vivian (Rosanna Schiaffino) -- who then married Albert (Andrea Scotti of Mission Bloody Mary)  -- while Patrick took up with the younger Kim (Jane Agren). Patrick seems unaware that Kim is still fooling around with Russell (Howard Ross) and that she is more interested in Patrick's money than anything else. Inexplicably, Patrick invites these and other people -- including his sister Rebecca (Eva Czemerys), her lover Doris (Lucretia Love), Patrick's daughter, Lynn (Paola Senatore) and her boyfriend Duncan -- to a theater he owns, and which has not been in use for decades. Apparently mass murders took place there a hundred years ago on this very date. An uninvited guest is the mysterious Pat (Eduardo Filipone), who seems like some kind of guru. It isn't long before one of the party turns up stabbed to death ... 

Rosanna Schiaffino

One thing you have to say about The Killer is that it is absorbing and suspenseful, as you do get caught up in wondering which of the cast members is offing the others. In addition to this killer, there are also supernatural events to confuse the issue, with a creepy underground finale. The violence is not too horrific, although the killer has the habit of stripping female victims of their clothing and dignity before slaying them. There are some unanswered questions even after the revelations, and Patrick emerges as someone who will never win a prize as Father of the Year!  

Verdict: Somewhat arresting Italian giallo film is wildly imperfect but some fun. **1/2. 

THE STRANGE VICE OF MRS. WARDJ

George Hilton and Edwige Fenech

THE STRANGE VICE OF MRS. WARDJ (aka Lo strano vizio della Signora Wardh/1971). Director: Sergio Martino. 

In order to get away from her abusive lover, Jean (Ivan Rassimov), Julie  (Edwige Fenech) married her more pliable husband, Neil Wardh (Alberto de Mendoza), first secretary at the American embassy. Jean is still pursuing her when she meets the cousin, George (George Hilton), of her friend Carol (Conchita Airoldi), and with some initial reluctance begins an affair with him. Meanwhile a mad razor slasher is running around the city of Venice where they all live, brutally murdering young women. The latest victim, who went to a park to confront a man blackmailing Julie over her affair, is Carol. Unable to deal with it all, Julie runs off to Spain with George, where her final fate awaits her ... 

the underground garage sequence

The Strange Vice of Mrs. Wardj is better-known in shortened versions under the titles Next! or Next Victim! or Blade of the Ripper. Although listed on imdb.com as being 81 minutes long, Strange Vice actually runs 97 minutes (and could have used a little trimming frankly). Still, it's an intriguing giallo film under any title. There is a terrific sequence in an underground parking garage where the killer pursues Julie, and another suspenseful sequence in the gardens of the Schonbrunn Palace. And, of course, the umpteenth shower murder sequence, although this is not done with much elan. Sergio Martino's direction is adequate but not exactly stylish. 

Ivan Rassimov

Edwige Fenech, who made a career starring in movies like this and stripping to her birthday suit at the drop of a hat, is adequate as the unsympathetic heroine, but she was never hired for her acting skills. Born in Uruguay, George Hilton has a certain presence and appeared in a large number of foreign productions, as did Ivan Rassimov, who was actually born in Italy. He was also in Planet of the Vampires. Sergio Martino also directed Torso. 

Verdict: A twisty and unpredictable script will keep you guessing. ***.