Two seemingly separate stories in New South Wales: a burned, murdered body of a young woman is found on the beach, and a retired inspector makes inquiries; also, Linda, a waitress and ferry... See full summary »
Dalila Di Lazzaro,
The Case of the Scorpion's Tail begins with the mysterious death of a millionaire and spirals into the murder of his suddenly rich wife, which draws the attention of a dogged investigator, who follows a trail of blood to the bitter end.
Alberto de Mendoza
Christian (Robert Hoffman) and his girlfriend are taking a walk on a deserted beach when they discover a woman's body lying. A closer look proves that she's alive. The next day Christian ... See full summary »
As a thirteen year old, Martha Caldwell witnessed the death of her parents in a terrible railway accident. Barely surviving the tragedy herself, Martha was struck dumb due to the shock. Now... See full summary »
Oliviero is a burned-out writer, living at his estate near Venice, his dead mother dominating his imagination. He is also a degenerate: sleeps with his maid and his ex-student, hosts ... See full summary »
Lara, the host of a radio call-in show dealing in psychic phenomena, discovers that her estranged lover has been found dead in a small Spanish village. She learns that he was conducting ... See full summary »
A famed jewel thief named Rochard is slashed to death on a train. His daughter Nicole, a famous nightclub performer in Paris, is questioned by the police about some missing diamonds but she... See full summary »
An ex-convict, troubled by dreams that he strangles women, is hired as the caretaker on an estate owned by three very strange sisters. Soon after his arrival, a serial killer begins ... See full summary »
Not really a giallo, but a surrealistic view on guilt...
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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