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Blood and Black Lace (1964)
"Sei donne per l'assassino" (original title)

7.4
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Ratings: 7.4/10 from 3,774 users  
Reviews: 61 user | 90 critic

Italian thriller about a shadowy killer in black murdering fashion models through brutal methods.

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(story), (collaboration), 1 more credit »
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Title: Blood and Black Lace (1964)

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Cast

Cast overview, first billed only:
...
Eva Bartok ...
Thomas Reiner ...
Ariana Gorini ...
Dante DiPaolo ...
Mary Arden ...
Franco Ressel ...
Claude Dantes ...
Luciano Pigozzi ...
Lea Lander ...
Greta (as Lea Krugher)
Massimo Righi ...
Francesca Ungaro ...
Giuliano Raffaelli ...
Harriet Medin ...
Clarice (as Harriet White Medin)
Mary Carmen ...
Model (as Mara Carmosino)
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Storyline

Isabella, a young model is murdered by a mysterious masked figure at a boarding house run by Max Morlacchi and his lover Countess Cristiana Como. When Isabella's boyfriend is suspected of the killing, her diary, which apparently has some incriminating evidence linking her to the killer, dissapears, the masked killer begins killing off all the models in and around the house to find the diary. Written by Anonymous

Plot Summary | Plot Synopsis

Plot Keywords:

killer | model | diary | masked killer | lover | See more »

Taglines:

The greatest shocks ever filmed See more »


Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

Release Date:

7 April 1965 (USA)  »

Also Known As:

Blood and Black Lace  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

The German titles for the film were 'Bloody Silk' and 'The Masked Strangler' See more »

Quotes

Inspector Silvester: Perhaps the sight of beauty makes him lose control of himself, so he kills.
See more »

Connections

Referenced in Bloody Pit of Horror (1965) See more »

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User Reviews

 
Beautiful models meet violent death as police attempt to find culprit.
10 September 1998 | by See all my reviews

One of the most chillingly sadistic gialli of all times, this 1964 masterpiece has lost none of its power. Director Mario Bava, the king of Italian horror, cleared the path for Dario Argento and others with this film, though it was not his first effort in the field. In 1962, Bava delivered what was probably the first Italian thriller, La ragazza che sapeva troppo. But whereas La ragazza was a relatively straight-forward murder mystery, this film ignores plot and character in favor of concentrating on the link between cinema and spectacle. The story deals with a series of gruesome murders which are plaguing the chic Haute Couture fashion salon: one by one, the lovely models are horribly murdered by a mad man who appears to be operating with no real motive. The police write the killer off as a sex maniac, but the truth of the matter is that the salon is a veritable hot bed of sex, drugs, and sordid dealings. A diary, loaded with information about these indiscretions, is making the rounds between the various models, and the killer is obsessed with tracking it down before his/her indiscretions are revealed. Though structured as a murder mystery--the German co-producers no doubt wanted Bava to deliver an Edgar Wallace-style thriller--the director takes the film off into unexpected, visionary directions. Even more so than Argento or Fulci, Bava seems fascinated by images of violent death. Yet whereas former med student Fulci insisted on dousing his corpses with blood and gore, former painter Bava keeps the bloodshed to a minimum, instead concentrating on the violent death throes which are shot in a eerily beautiful manner. The very first slasher film, though that label belittles Bava's achievement somewhat. Unlike later hack-em-up directors, Bava is very conscious of the links between the viewer and the cinematic process. By encouraging the viewer to identify with the killer's pleasure-i.e., we think the killings are beautiful in the same way that he no doubt does-Bava makes a very powerful statement on the power of the image. The characters are flat and one-dimensional, because they need to be. There are no heros, only victems. The police are depicted as arrogant and ineffectual, in contrast to most films of this era, Bava does not encourage the viewer to identify with anyone beyond the killer. Within the microcosmic environment of the fashion salon, Bava makes some telling comments on society, as well. Visionary filmmaking at its best.

An under-estimated classic. My rating ***** out of *****.

Review by Troy Howarth


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