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Bloodstained Shadow (1978)
"Solamente nero" (original title)

 -  Mystery | Thriller
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Ratings: 6.4/10 from 537 users  
Reviews: 22 user | 25 critic

The body of a schoolgirl is found in a meadow. The murderer is never caught, and years later; a young man named Stefano returns to the island and is reunited with his brother, the local priest.



(screenplay), (screenplay), 3 more credits »
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Complete credited cast:
Lino Capolicchio ...
Stefano D'Archangelo
Stefania Casini ...
Sandra Sellani
Craig Hill ...
Don Paolo
Massimo Serato ...
Count Pedrazzi
Juliette Mayniel ...
Signora Nardi
Laura Nucci ...
Sandra's stepmother
Attilio Duse ...
Gasparre, the sacristan
Gianfranco Bullo ...
Nardi's son
Luigi Casellato ...
Signor Andreani
Alfredo Zammi ...
Police Commissioner
Alina De Simone ...
Medium (as Alina Simoni)
Emilio Delle Piane
Sonia Viviani ...
Girl walking with Signora Nardi (as Sonia Vivani)
Sergio Mioni ...
Dr. Aloisi


The body of a schoolgirl is found in a meadow. The murderer is never caught, and years later; a young man named Stefano returns to the island and is reunited with his brother, the local priest.

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Mystery | Thriller


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Also Known As:

Only Blackness  »

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Aspect Ratio:

1.85 : 1
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Antonio Bido:  Man at cemetery. See more »


Featured in Solamente Bido (2002) See more »

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User Reviews

Not really a giallo, but a surrealistic view on guilt...
10 September 2002 | by See all my reviews

This film, even though is linked together by the elements of the giallo genre, worked much better for me as a subconscious view on personal guilt. The visual elements speak for themselves; the crucifix falling over you, all the people that you did wrong ( and in the center of all of them yourself)looking at you after you've been judged for your crimes, the characteristics of the first victim ( whose relation to the victimary are unexplained but for that, they're never explained other than visually), the fact that you are supposed to be the standard of good conduct and morality to which everybody is compared and judged, and turn out to be the plague of your society. Those are just some of the few of the guilt symbols that I could figure out of the film. Some people who saw this movie felt defrauded because this was the main pattern for the killings, and felt that they were unexplained, but they were only left for the eye to see, and for the imagination to figure out. Somehow, even though it might sound crazy, I feel that this film was a major influence for some of Fulci films, whose greatest strength in my opinion is to take the best of whatever there was going on on moviemaking of the time and amalgamate it into something great( whereas some people tend to see it the other way around) like " City of the living dead" ( the spiritist sessions at the openning in both films,where something about one of those on the crowd is revealed and hell breaks loose, the priest character who "opens the gates of hell", and the overall surrealistic tone where everything is only explained by what each one sees) and "Aenigma" (Where I felt that the victims where not killed only by whoever they did wrong, but also by their own guilt, materialized in what they fear the most, always linked to their crime). Stelvio Cipriani and Goblin, as usual, kick butt, and even though Antonio Bido recognizes his major influence is Dario Argento, the film is somehow different technically( with the use in the initial sequence of slow motion camera that you would most likely see in an Enzo Castellari movie, and more use of the setting atmosphere and lighting than camera angles and movements like Argento). By the way, the setting of the story could not be better, and Bido is really a genious in finding where to shoot every scene. The only thing I maybe didn't like are those scenes between Cappolichio and Stefania Casini ( I don't know about any of you, but I find of poor taste hairy axillary in women, among other things). They interrupted the tension of the film while it was growing bigger, and where unnecessarily long ( I would rather have been watching it on tv than with those scenes, unless the main actress was a little more attractive for not serving other purpose than "relief"). There's the main moral intention, anyways, of " The Cat O'nine Tails", and there's a follow up to the previous giallo tradition, but it has it's corresponding place in the giallo history as it is progressing (or decaying).

I would recommend to watch this along with " El crimen del Padre Amaro" after church, not for a sacrilegious experience, but to understand each of the three experiences. Religious experience ( I hate to quote Enrique Iglesias, but sometimes is unavoidable). I wouldn't include in the set " Don't torture a duckling", I insist they're different...El Padre Amaro owes more to this film than this film owes to The Duckling.

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