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Tutti i colori del buio (1972)

A woman recovering from a car accident in which she lost her unborn child finds herself pursued by a coven of devil worshipers.



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Cast overview, first billed only:
Julián Ugarte ...
J.P. McBrian
Dr. Burton
Elderly Neighbor
Barbara Harrison (as Susan Scott)
Francis Clay (as Alan Collins)
Jane's Mother
Lisa Leonardi ...
Girl with dog
Renato Chiantoni ...
Mr. Main
Tom Felleghy ...
Inspector Smith
Vera Drudi ...
Nightmare Woman
Carla Mancini


Jane lives in London with Richard, her boyfriend. When she was five, her mother was murdered, and she recently lost a baby in a car crash. She's plagued by nightmares of a knife-wielding, blue-eyed man. Richard, a pharmaceutical salesman, thinks the cure is vitamins; Jane's sister Barbara, who works for a psychiatrist, recommends analysis; a neighbor Jane's just met promises that if Jane participates in a Black Mass, all her fears will disappear. Jane tries the Mass, but it seems to bring her nightmares to life. Is there any way out for her short of death or a living Hell? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis


GEORGE... he used to scoff at things that didn't add up. He was so practical. Overnight he was ONE OF THEM! See more »


Horror | Thriller


R | See all certifications »






Release Date:

13 August 1976 (USA)  »

Also Known As:

They're Coming to Get You  »

Company Credits

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Technical Specs

Sound Mix:


Aspect Ratio:

2.35 : 1
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Did You Know?


Italian censorship visa # 59784 delivered on 24-2-1972. See more »


Jane Harrison: I got frightened. A strange guy tried to follow me all the way home.
Mary Weil: I'm frightened that the time will come when a man won't follow me home.
Jane Harrison: I'm afraid this one was a maniac.
Mary Weil: Strange men have been following women since the Stone Age, Jane.
See more »


Referenced in Sergio Martino: The Art and Arteries of the Giallo (2011) See more »

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User Reviews

Giallo meets "Rosemary's Baby"
21 May 2001 | by See all my reviews

Director Sergio Martino, was a Giallo genre regular. Having made a career on these little sleazy masterpieces, Martino directed the Horror/ Giallo hybrid "All The Colors Of Darkness/ They're Coming To Get You/ Day Of The Maniac" in 1972. Basically this is a Giallo film, but the black gloved assassin went on holiday, and instead we've got a Charles Manson type group of greedy interlopers disguised as a Satanic Cult. Jane (the wonderful Edwige Fenech, playing yet... another victim) is having reoccuring nightmares of her Mother's death. Her relationship with her husband Richard (the great George Hilton with a really badly dubbed English accent) is strained, due to a pregnancy miscarrage she suffered, due to an automobile accident. Poor Edwige is then tormented by the Satanic group that enjoys orgy Black masses (acompanied with throbbing bass and sitar music produced by Bruno Nicolai), who claims that she can never leave the group (even though she only went to one Black Sabbath). I've yet to figure out what the symbol of an upside down triangle and an eyeball means, but it seems to pop up a lot in the forms of necklaces and tattoos (I suppose that maybe it's just required wear for this sector). The only thing I find truly objectable through this "black mass" scene is the sacrifice of a poor animal (I sure hope it wasn't real, but with an Italian and Spanish production...? Who can be sure?), while they serve up it's blood in a goblet to Edwige. The leader of this cult is McBain (Julian Ugarte) who likes to sport long metalic fingernails, and show his bloody teeth to Edwige, which I find the silliest aspect to what is actually a very engaging and suspenseful film. Like the Roman Polanski films "Repulsion" and "Rosemary's Baby", this film centers around the mental inballance of Edwige's character. For a long time, you (the viewer) are not sure if she is dreaming this all up, or if it's real, when in times she inflicts herself with self mutalation and dreams. There are moments of pure horror. When she is being stalked in a subway (with a beautifully shot intro, of Edwige standing in a circular tunnel awaiting the train), being chased through the woods by dogs, being trapped in her Pychologist's home after the groundskeepers have been murdered, and when she is cornered in her own room with a knife weilding maniac coming after her all add to the viewer's (and my girlfriend's) discomfort. It's the moments that I've mentioned that make up for the silliness that sometimes pop up. The movie is full of the typical red herrings that are incorporated in gialli. Though you may be sure that the Satanic Cult is responsible for this mental torment, you are still not sure who else is involved. Everyone seems a little suspicious. The air of paranoia is so thick that you find yourself sympatheising with Edwige Fenech. Like I've mentioned in other comments, I cannot stress enough how much I dig Edwige. She's always a good sport about being in these films, and she's actually a very good actress. Typical of this genre of cinema, all the actor's and actresses are given groovy wardrobes and cool interior decorating to work with. The musical score by Bruno Nicolai is so close to Ennio Morricone's scores that I often wonder who was influencing who? This film also seems to be the first of it genre to sprinkle a little supernatural elements in the proceedings, (ie: premonitions of the psychic nature) that was a forerunner to later giallo's like "Deep Red". Typical of a lot of Italian cinema, this film exists in many forms. A lot of the American prints omits the beginning dream sequence, and a pivotal scene dealing with Edwige's sister played by genre regular Susan Scott. The copy I have has this scene, and I truly wonder how the film would even work without it? These films are truly a chore to follow due to the different cuts and numerous titles they fall under. But once you're hooked... you're hooked for life. Recommended to creepy people and fans of Italian cinema. George Hilton and Edwige Fenech made quite few films together, due to the fact that they were a handsome couple on screen.

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