In one evening, a beautiful married woman, Minou, is attacked by a strange man who informs her husband, Peter, is a murderer. Although Minou can't and doesn't want to believe the apparently crazy story, her best friend, Dominique, meaningfully suggests that a man named Jean Dubois, who was found to be drowned, might be somehow murdered. So, even in the troublesome circumstance that people around her including the police Commissioner can't conform the stranger really exists, it is natural that an unpleasant idea that Peter killed Jean Dubois crosses Minou's mind... Ostensibly the story of this film is a little too old-fashioned to be that of a 1970 Giallo. But, in the last sequence, it takes an desirably satisfactory (if not new) turn which not only is manifestly influenced by Mario Bava's THE TELEPHONE (which is the first and most Giallish segment of his 1964 BLACK SABBATH) but also has rather an usual Giallish element of bisexuality which conforms the Freudian thesis that sadism and masochism must be assessed in the framework of the bisexual organisation. Speaking of the Freudian psychoanalysis, the two leading characters, namely, Minou as a masochist and the black-mailer as a sadist, are almost innocently conformable to the Freudian definitions of masochism and sadism, which are accountable for the different roles of the female and the male. Especially, Minou is a very typically Freudian woman who is, paradoxically enough, so dependent upon her husband that she can sleep with the black-mailer to protect her husband. In this sense, though Dagmar Lassander adequately plays Minou whose actions and reactions, spoken and unspoken utterances, tones of voice, facial expressions and gestures are Freudian and/or psychoanalytically explainable, this film per se isn't and can't be the one in which Lassander is at her best because her character lives in and only in the strangely self-limited world. (Incidentally, I think the 1970s' film in which Lassander is at much better is nothing but SO YOUNG, SO LOVELY, SO VICIOUS...in which she plays much more humanly ambivalent person named Irena. Unfortunately this 1975 film per se is a little to melodramatic to be an average Giallo.) And regarding the Ennio Morricone's music, though it per se doesn't seem to be particularly bad, its strangely independent cheerfulness is not adequate for the appropriately essential seriousness of the film at all. Indeed this music is an unnaturally added sense of the-reality-IN-the-film, and confuses and/or disturbs the-reality-OF-the-film. In conclusion, though I can say this film as a whole is an average Giallo, I have to say the director's similar Giallo film, DEATH WALKS ON HIGH HEELS, which has more serious and twisted detectiveness, is better than this.