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La ragazza che sapeva troppo
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The Evil Eye (1963) More at IMDbPro »La ragazza che sapeva troppo (original title)

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Mario Bava (writer)
Enzo Corbucci (writer)
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Release Date:
20 May 1964 (USA) See more »
What Does It Want? What Will Satisfy Its Cravings?
A tourist witnesses a murder and finds herself caught up in a series of bloody killings. Full summary » | Full synopsis »
(22 articles)
User Reviews:
The Girl Who Knew Too Much (Mario Bava, 1963) *** See more (34 total) »


  (in credits order) (complete, awaiting verification)
Letícia Román ... Nora Davis

John Saxon ... Dr. Marcello Bassi

Valentina Cortese ... Laura Craven-Torrani
Titti Tomaino ... Inspector
Luigi Bonos ... Albergo Stelletta
Milo Quesada ... De Vico / Paccini
Robert Buchanan ... Dr. Alessi
Marta Melocco ... Murder Victim
Gustavo De Nardo ... Dr. Facchetti
Lucia Modugno ... Nurse
Giovanni Di Benedetto ... Professor Torrani (as Gianni De Benedetto)
Franco Morici ... Policeman
Virginia Doro ... Torrani's Maid
Dante DiPaolo ... Andrea Landini (as Dante Di Paolo)
rest of cast listed alphabetically:
Chana Coubert ... Ethel Windell Batocci (uncredited)
Jim Dolen ... Priest (uncredited)
Adriana Facchetti ... Woman in Sguattera Restaurant (uncredited)
Dafydd Havard ... Bit Part (uncredited)
Tiberio Murgia ... Bit Part (uncredited)
Peggy Nathan ... Bit Part (uncredited)
Lido Pini ... Bit Part (uncredited)
Franco Ressel ... Arresting Officer at Airport (uncredited)
John Stacy ... Bit Part (uncredited)
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Directed by
Mario Bava 
Writing credits
(in alphabetical order)
Mario Bava  writer
Enzo Corbucci  writer
Ennio De Concini  writer
Eliana De Sabata  writer
Mino Guerrini  writer
Franco Prosperi  writer

Produced by
Massimo De Rita .... producer
Original Music by
Les Baxter (US version)
Roberto Nicolosi 
Cinematography by
Mario Bava 
Film Editing by
Mario Serandrei 
Art Direction by
Giorgio Giovannini 
Set Decoration by
Luigi D'Andria 
Costume Design by
Tina Grani  (as Tina Loriedo Grani)
Makeup Department
Mara Rocchetti .... hair stylist
Euclide Santoli .... makeup artist
Production Management
Paolo Mercuri .... production manager
Second Unit Director or Assistant Director
Enrico Checchi .... second assistant director
Franco Prosperi .... assistant director
Art Department
Emilio Schuberth .... set dresser
Camera and Electrical Department
Ubaldo Terzano .... camera operator
Editorial Department
Lina Caterini .... assistant editor
Other crew
Armando Govoni .... production assistant
Neda Matteucci .... script supervisor
Crew believed to be complete

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Additional Details

Also Known As:
"La ragazza che sapeva troppo" - Italy (original title)
See more »
86 min | France:88 min | Spain:83 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

Regarded as the seminal work in what became known as the "Giallo" genre.See more »
Nora Davis:[into the phone] Oh mother, murders don't just happen like that here.See more »
Movie Connections:
FuroreSee more »


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5 out of 6 people found the following review useful.
The Girl Who Knew Too Much (Mario Bava, 1963) ***, 10 June 2007
Author: MARIO GAUCI ( from Naxxar, Malta

This Bava film (whose title is clearly a nod to Alfred Hitchcock), credited with being the first giallo, was also one I could have watched earlier – having long considered picking up the now-OOP Image DVD, not to mention via a DivX copy I've owned for some time – but thought it best to wait for this definitive edition (complete with a Tim Lucas Audio Commentary).

Anyway, I don't know whether it's because I preceded it with Riccardo Freda's delirious and luridly-colored THE GHOST (1963) or the fact that the film retains an incongruous light touch (and leisurely pace) throughout – including the heroine's ruse to ensnare her stalker by the unlikely methods adopted in the pulp thrillers she avidly reads – but, while I enjoyed it a good deal, it felt to me like an altogether minor work from the maestro! Similarly, the murder sequences – a stylized highlight of later giallos – are pretty mild here. Still, Bava's consistent virtues – as a director – for creating tremendous suspense and the fantastic lighting and crisp cinematography that come with his intimate knowledge of the camera are well in evidence.

The first half-hour is pretty busy plot-wise, as all sorts of things happen to the charming leading lady (the striking-looking Leticia Roman, daughter of Oscar-winning costume designer Vittorio Nino Novarese): first she gets involved with a drug-dealer, then the aunt she was to live with dies on her, after which she roams outside in a frenzied state to be held up by a small-time crook and witness a knife-murder across Rome's famous Piazza di Spagna! Her disoriented frame-of-mind is effectively rendered by Bava through simple expedients, such as distorting lenses and focus-pulling. Incidentally, the foreigner-investigating-a-series-of-murders-in-Italy plot line prefigures such notable Dario Argento films as THE BIRD WITH THE CRYSTAL PLUMAGE (1970) and DEEP RED (1975). Interestingly, since there was no yardstick for the genre as yet, Bava relied on such familiar film noir trappings as first-person narration to push the story forward.

The film also features a young John Saxon in his first of many "Euro-Cult" outings as Roman's boyfriend and Valentina Cortese as her wealthy, eccentric landlady; the script provides plenty of suspects, but the final revelation comes as a surprise (though, in hindsight, it seems pretty obvious) – and this is followed by a lengthy explanation of the motive behind the killings, which became a standard 'curtain' for this type of thriller. There's an amusing final gag involving a packet of cigarettes and a priest, while Adriano Celentano's catchy pop song "Furore" serves as a motif during the course of the film.

Additional footage was prepared for the U.S. version (snippets of which are present in the accompanying trailer), while the title was changed to THE EVIL EYE and Roberto Nicolosi's score replaced with that of Les Baxter (as had already proved to be the case with Bava's BLACK Sunday [1960])! It would have been nice to have had this cut of the film (which is said to stress the comedy even more) included for the sake of comparison – and it had actually been part of the original announcement for "The Mario Bava Collection Vol. 1", along with the similar AIP variants for BLACK Sunday itself and BLACK SABBATH (1963), but these were subsequently retracted! Incidentally, I now regret not renting the alternate version of THE GIRL WHO KNEW TOO MUCH on DVD-R while I was in Hollywood – but, back then, I wanted first to watch the film as the director intended.

In John Saxon's otherwise entertaining interview on the Anchor Bay DVD (in which he recounts his experience working on this film and other stuff he made during his tenure in Italy), he erroneously mentions that he worked with director Lucio Fulci – whose name he even mispronounces as Luciano! Despite there being a considerable amount of dead air throughout Tim Lucas' Audio Commentary, it does a wonderful job at detailing the film's background – plus offering his own take on events: it does prove enlightening on several aspects of the film I had initially overlooked, such as how the costumes were carefully chosen to define character or the impressive contribution given by Dante di Paolo (George Clooney's uncle!) as the dour journalist investigating the murder spree. Surprisingly, Lucas also mentions that some of Bava's camera moves are more elaborate and graceful as seen in THE EVIL EYE (which makes me want to see it even more!) – but, then, important dialogue stretches heard in the Italian original involving the creepily asexual voice of the killer were bafflingly left out of the American version!!

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