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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
Gathered in the great family villa for listening to the last will of a very rich owner of diamond mines that has just been killed, his relatives – that hate each other heartily – find that they have to spend a whole month in the vast estate, so that the pretenders to the legacy cut down from seven to three. While the various characters get busy scheming complex plans that bring the others one to eliminate reciprocally, an old Scotland Yard detective do his best to identify the perpetrator of the first crime that has set in motion the complex massacre game he's now witnessing. At the end truth will out; and the only inheritor will be the most unexpected. Interesting for its potential – and it's no accident that the story comes from the expert Ernesto Gastaldi ("Lo Strano Vizio Della Signora Wardh", 1971 by Sergio Martino) – it's a "giallo" that reveals its modesty in its continuous rolling up itself, leaving perplexed an audience who's probably waiting for the usual murder series that, in truth, never materializes. The death are, in fact, occasional and too much predictable to surprise even the ingenuous – still for few time – audiences of the premiere. Dorigo ("Assassino Senza Volto", 1968) isn't really a relevant figure in the Italian cinema history, but a modest artisan that worked in all the genres in fashion, without finding a real summit in his meager filmography; and also with this title he shows clumsy in creating the tension and few prone to action, building a sequence of scenes with dialogs – also because of the much theatrical implant of the screenplay by Sergio Bazzini ("Il Seme Dell'Uomo", 1970 by Marco Ferreri) and Roberto Natale ("Operazione Paura", 1966 by Mario Bava). The fair job by Aldo Tonti and Tonti ("Il Castello Dei Morti Vivi", 1965 by Lorenzo Sabatini, Michael Reeves and Luciano Ricci) some good characterizations – notably the ones by Mary Arden ("Kriminal", 1966 by Umberto Lenzi), Giovanna Galletti ("Gli Amori Di Ercole", 1960 by Carlo Ludovico Bragaglia), Franco Pesce ("Orgasmo", 1969 by Umberto Lenzi), Gilberto Mazzi ("Macario Contro Zagomar", 1944 by Giorgio Ferroni)and Sergio Ciani ("Maciste Contro Gli Uomini Della Luna", 1964 by Giacomo Gentilomo) – confer the minimum of availability to make pleasant the screening, always if you have no great expectations. Produced by Walter Brandi, who's got famous for some historical horror movies of Cinecittà, like "L'Ultima Preda Del Vampiro", 1960 by Piero Regnoli.
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