BMOD black

By
Adrian Luther-Smith
BLOOD »[£<*
ISBN 0-9533261-1-X

Published by Stray Cat Publishing Ltd, PO Box 36,

Liskeard, Cornwall, PL14 4YT, England.

Copyright 1999 Stray Cat Publishing Ltd

This book is sold subject to the condition that it shall not by way
of trade or otherwise, be lent, re-sold,.hired out or otherwise
circulated without the publisher's prior*onsent in any form of
binding or cover other than that in which it is published and
* without a similar condition including this condition being
mb imposed upon the subsequent purchaser.

All illustrative material is copyright of the respective owners

and is reproduced here in the spirit of publicity.

Design and Typeset by Ebony Media Ltd

Edited by Allan Bryce

^ Cover illustration: Blood Link (aka Extrasensorial).

Author's Acknowledgments
Additional reviews in the 'Elusive Gialli' section by Roberto Curti.

Research associates: Julian Grainger, Gary Needham.

I am particularly indebted to the following people: Francis Brewster, Nigel J.

Burrell, Kevin Grant, Clark Hodgkiss, Harvey Fenton, Kevin Coward,
Marc Morris and Stephen Thrower for their invaluable assistance
with this project.

Thanks also to: Lucas Balbo, Bill Bennett, Martin Coxhead, Alwin Dewaele,
Gavin Ellinger, Dr. David Laurenson, Xavier Mendik and the many people who
have sent information for inclusion in Delirium
publications which has indirectly fed into this book.

Thjs book is dedicated to my wife Arpna (for her incredible support) and our
daughter Anushka (for being the light at the end of the tunnel). I would
also like to thank Allan Bryce for his patience and encouragement, and
Salvation Films (Redemption) for sourcing and releasing the best pos¬
sible versions of many great gialli (but Nigel, please drop the 'oo-er
missus' type comments on the back of your sleeves).
 FOREWORD
by Ernesto Gastaldi

Giallo (yellow) is the colour of the covers for thrillers which were initially printed by the Italian publishing
company Mondadori for many decades, but this kind of^iterature and cinema didn't become truly important
in Italian culture until the mid-Sixties. We had a few good Italian giallo novels but almost no films. The proof
of this situation lies in the fact that when we began to produce our own giallo films, producers forced the
Italian film-makers to use Anglicised pseudonyms. It so happened that I was one of the first Italian screenwrit¬
ers who wrote and directed a giallo film. Libido, a very low budget movie, was my first giallo and starred
Mara Maryl (my wife) and John Charlie Johns. Who's he? Giancarlo Giannini, of course, now one of Italy's
most popular actors!
Following the success of Libido, Luciano Martino produced II dolce corpo di Deborah (The Sweet Body of
Deborah) with Carroll Baker and Jean Sorel, and Cosi dolce, Cosi perversa (So Sweet, So Perverse) with Baker
again and Jean-Louis Trintignant. The films sold all over the world and earned a great deal of money. Then
Goffredo Lombardo produced The Bird with the Crystal Plumage, directed by Dario Argento of course, and all
Italian producers realised that well-made giallo movies were good business.
You only need a good story, with an intriguing, well-engineered plot, and reasonably talented actors (stars are
welcome but certainly not indispensable) and you can make good films with low budgets, which can be sold
throughout the world. I think the advantage of being able to produce these films on a low budget is a princi¬
pal reason for the explosion of Italian gialli through the late Sixties and early Seventies. Of course, then vio¬
lence and blood began to take precedence over scripts, and every new film needed more and more gore. In
the end blood and violence can be boring. Sadly, the real giallo is dead, but this book is a worthy and long-
overdue memorial.

Ernesto Gastaldi
Rome, June 1998.

Filmography
II tuo vizio e' una stanza chiuaa a solo io ne ho la chiave/Gently
A... come assassino (screenplay) Before She Dies
Libido (director, producer and co-screenplay) (co-screenplay)
La lame net corpo/The Murder Clinic (screenplay) Tutti i colore del buio/They're Coming To Get Yt
play)

II dolce corpo di Deborah/The Sweet Body of Deborah (screen-

play)
Coai dolce... coai perversa/So Sweet, So Perverse (screenplay)

1970
La foto proibite di una signora perbena/The Forbidden Photos
of a Lady Above Suspicion
(co-screenplay)
ia minorenne/Too Young To Die
lo Scorpione/The Case of the Scorpion's Tail (co-
n i tacchi alti/Death Walks in High-Heels o etruscofThe Scorpion with Two Ta
mplay)
iignore Wardh/Nextl (co
tr Has Returned (co
a mezzanotte/Cry Out in Terror (co-screen-
le gocce di sangue sul corpo di
di Olga “0~/0lga O's Strange Story (story)
 INTRODUCTION
:fc Lace is a comprehensive guide to Nevertheless, in a few instances I have opted to list
those Italian films (and Italian co-productions) which films by a title which would be the most familiar to
comprise what is commonly referred to as the giallo readers (eg. Catti rossi in un labirinto di vetro is list¬
genre. So what's a giallo? The term was originally ed under its US title Eyeball, even though its actual
coined to describe the mystery/thriller novels pub¬ English language title seems to be The Secret
lished in Italy which were bound in instantly recog¬ Killer... but who would have looked it up under this
nisable yellow covers (giallo is the Italian word for obscure and rather uninspiring moniker?).
yellow). Mario Bava's 1962 Hitchcockian thriller. The Elsewhere, Macchie solari is listed by its export title
Evil Eye {La ragazza che sapeva troppo) is usually The Victim rather than its US re-title Autopsy
attributed to be the first cinematic giallo, although because the latter is a shortened re-edit with a dif¬
there had been a number of Italian thrillers prior to ferent opening score and The Victim more accurate¬
this which could loosely have been defined as such ly conveys the essence of the film and the role
(like Giacomo Gentilomo's 1943 film, Cortocircuito). played by Mimsy Farmer. Obviously, films for which
And while it covers every film which might be no English language title is known are listed by their
defined as a giallo, Blood and Black Lace also goes original Italian title.
beyond the recognised genre boundaries by includ¬ Aside from the credits and reviews, the supporting
ing a number of horror mysteries (such as The
Bloodsucker Leads The Dance) and sexy thrillers
(like Fatal Temptation). These films share the same
elements of allure, mystique and madness and so
have been included to provide an all-embracing
overview. Besides, they will undoubtedly be of
interest to those who enjoy lurid Italian movies.
From the outset I decided that this particular guide
would be unique in retaining the mystery element
of the films it covers by leaving the identity of the
killer (or killers) undisclosed. Many reviewers of
gialli seem to take delight in revealing the identity
of those responsible for the violence on screen.
This approach undoubtedly affords writers the
convenience of analysing films more easily but
denies the reader the pleasure of unmasking the
killer for themselves. Doubtless, some readers of
Blood And Black Lace will have seen a fair pro¬
portion of the films herein, but this is no argu¬
ment for denying others the enjoyment of being
an armchair detective and trying to work out I
whodunit themselves. Therefore, synopses of
each film chart the plot only as far as is neces¬
sary to set the scene and pique the interest but
leave the denouement open to question. And in
a change from the historical approach taken in
my Delirium guides I was persuaded that Blood
And Black Lace should be an alphabetical
rather than chronological guide. This approach
undoubtedly makes the book more accessible
for the general reader. Films are listed alpha¬
betically by their English language export title
(ie. the title which Italian producers opted to
use for releasing their film in English speaking
territories around the world). In most cases,
this is also their most well-known English lan¬
guage title and should make it easy for read¬
ers to quickly refer to a particular film.
sive guide to gialli on video, laserdisc and DVD cur¬ Stelvio Massi and Tano Cimarosa attempted to jump
rently available. This information has been culled on the bandwagon, but even with the addition of
from a wide variety of sources and although every more sex and violence their efforts were poor by
effort has been made to make it as complete and genre standards.
accurate as possible, in a book which covers a mass Following a brief high in 1975 with the seminal
of international home viewing releases there will Deep Red there was a definite decline in the number
inevitably be some errors and omissions. of productions, with Italian film-makers switching to
Nevertheless, I have done my best in the timescale ' violent cop thrillers or sexy comedies. Despite a
available and perhaps readers will good enough to couple of notable efforts (The Bloodstained Shadow
send any corrections and additions (via The Dark and The Pyjama Girl Case), the giallo, like the
Side) for inclusion in a future, updated volume. spaghetti western, seemed to have become unfash¬
Running times do not include the distributor logos ionable. However, the sudden popularity of the
which often appear before films but do include the American slasher movie in the early 1980s changed
complete fade-out soundtrack (even if this plays all that. This horror hybrid was heavily influenced
against a plain black screen). PAL funning times are by its Italian forebears (the first couple of Friday the
inevitably shorter than films released in the NTSC 13th films were basically body count continuations
format (in the USA, Japan) because PAL videos run of Mario Bava's A Bay of Blood, while the transves¬
at 25 frames per second rather than the 24 frames tite maniac in Brian De Palma's Dressed To Kill
per second which most films are projected at. adopted giallo garb so perfectly he might as well
I will not attempt to exhaustively outline the entire have been in a Cinecitta production).
history, format and appeal of the giallo in detail in Ironically, the Stateside stalk 'n' slashers provided
this introduction, because the genre's development the impetus for new spaghetti splatterfests, making
and idiosyncrasies are apparent throughout the mystery killers once again financially attractive to
individual reviews (with many cross-references to Italian producers. Dario Argento provided a highly-
films and themes). But it's impossible to ignore a stylised, 'sexed-up' version of his Seventies gialli for
few of the more salient points. Mario Bava set the a new, more youthful, market with Tenebrae, while
trend with the aforementioned Evil Eye and went on Lucio Fulci's New York Ripper demonstrated that the
to define the genre with the savagely seductive addition of more sleaze and violence does not nec¬
Blood And Black Lace in 1964. Important entries essarily make a thriller more effective. There has
such as The Sweet Body of Deborah, Death Laid an been a slow but bloody flow of Italian genre entries
Egg and Orgasmo/Paranoia (all of which boasted ever since and a curious inverted fertilisation
the kind of eye-opening titles synonymous with the between the American and Italian markets, with
genre) were a foretaste of the delights to come. films such as Basic Instinct providing renewed stim¬
In 1969, a young film-maker called Dario Argento ulus for Italian erotic thrillers. Moreover, the success
delineated the style of future Italian thrillers with of Wes Craven's Scream films has proved that audi¬
The Bird with the Crystal Plumage. The peak of gialli ences still have a fascination for horror whodunits.
production, both artistically and financially, came in Craven's franchise looks set to carry on well into the
the early Seventies with a plethora of entrancing millennium, and Italian film-makers will undoubted¬
entries like Sergio Martino's Next!, Duccio Tessari's ly attempt to keep cashing-in on it.
Bloodstained Butterfly and Paolo Cavara's The Black Like spaghetti westerns and peplums, gialli have
Belly Of The Tarantula. These were films which their own definite style and recurring themes.
seemed to encapsulate the very essence Following the success of The Bird with the Crystal
of the genre. Less talented _ Plumage, other thrillers adopted references to ani¬
directors such mals within their titles. Thus, we have The Crimes
of the Black Cat; The Cat's Victims; A Lizard in a
Woman's Skin and one of the most provocative
examples, The Iguana with the Tongue of Fire.
Anyone with even a vague knowledge of gialli will
be aware that certain (fetishistic) attire, such as
black (usually leather) gloves, (leather or PVC)
trenchcoats and fedora hats, have became intrinsi¬
cally associated with the genre, almost to a point
where their appearance becomes essential. Stylistic
cinematic conceits, such as point-of-view shots,
have also become heavily associated with the giallo
(and with it's offspring, the aforementioned slash¬
ers). Music is also very important in gialli. One com¬
poser, Ennio Morricone, is most closely identified
with the genre, while his frequent collaborator
Bruno Nicolai also provided many of the classic
But other less well-known composers have
provided aural accompaniments which elevate the
productions they are featured in to heights of
deliriousness (such as Roberto Nicolosi's jazz
for The Eye in the Labyrinth and
Gianfranco Reverberi's acid rock in Delirium).
Furthermore, in Orgasmo/Paranoia the plotters
use an inane pop number to drive Carroll Baker
insane, and Klaus Kinski keeps hearing his dead
wife's favourite tune in Double Face. Even the
giallo spoof Atrocious Tales of Love and Death
features a "sweet melody... which announces
the presence of death".
The amateur detective figures who regularly
investigate the insidious crimes perpetrated
in these films are often more effective than
the police and are likely to be suspects themselves, be traumatised in later life (often through disorders
forced to prove their innocence. Some of those such as psychosis) and may result in him/her
responsible for the heinous acts of violence are indulging in acts of violence over which they seem¬
attempting to gain an inheritance (as in The Young, ingly have no control. Such scenarios are evident
the Evil and the Savage), cover-up their sexual mis¬ throughout this book and I will leave the reader the
demeanors {What Have They Done To Your pleasure of discovering for themselves just how
Daughters?, Red Rings of Fear) or perhaps worse of prevalent Freudian theory is in this form of exploita¬
all,.are acting as moral avengers against wanton tion film-making. This ties in with the essential
women (So Sweet, So Dead, The New York Ripper). appeal of this kind of psychological cinema: the
However, the main reason why murderous deeds dual attraction and repulsion of sexual and violent
are committed in gialli, brings us to Freud's 'Primal imagery feeds the viewer's desire to know more, to
Scene' theory, which Italian film-makers have discover the truth. So read on, and immerse your¬
to explain away their ridiculous self in the complexities of the mind, the mysteries
ling to Freud, a child who witnesses of the giallo...
intercourse or experiences a situa-
can misinterpret this as a Adrian Luther-Smith
incident. This can cause that individual to London
November 1998
CONTENTS
 The Night Evelyn Came Out of
the Grave (La notte che Evelyn
usci dalla tomba) 80
Nightmare Concert (A Cat in
the Brain) (Un gatto nel cervel-
lo) 80
Nothing Underneath (Sotto il
vestito niente) 81

Fashion Crimes (La morte e' di

moda) 46
Fatal Frames (Fotogrammi
mortale) 46
Fatal Temptation 47
The Fifth Cord (Giornata nera
per I'Ariete) 47
Five Dolls For An August (5
bambole per la luna d'agosto)
48
 Scandal in Black
■FRISSONS! The Washing Machine (Vortice
(Appuntamento in nero) 98
The Scorpion with Two Tails
DtfORREUR mortale) 125
The Weekend Murders
(Assassinio al cimitero etr- (Concerto per pistola
uscollOO solista)127
The Secret of Seagull Island Welcome To Spring Break
(L'isola del gabbiano) 100 (Nightmare Beach - La spiaggia
Seven Bloodstained Orchids del terrors) 128
(Sette orchidee macchiate di What Have They Done to Your
Daughters? (La polizia chiede
Seven Deaths in the Cat's Eye^ aiuto) 128
(La morte neqli occhi del What Have You Done To
gatto)102 Solange? (Cosa avete fatto a
Seven Murders For Scotland Solange?) 129
Yard (7«adaveri per Scotland Who Killed the Prosecutor and
Yard) 1» Why? (Terza Ipotesi su un caso
Shadow of Death (L’assassino di perfetta strategia crimi-
fantasma) 106 nale)130
The Short Night of the Glass Who Saw Her Die? (Chi I'ha
Dolls (La corta notte delle bam- A Taste for Fear (Pathos, Un vista morire?) 132
bole di vetro) 107 sapore di paura) 117
Slaughter Hotel (La bestia Tenebrae (Tenebre) 117 Y
uccide a sangue freddo) 107 Terror at the Opera (Opera) 119
Smile Before Death (II sorriso They're Coming to Get You You'll Die at Midnight (Morirai
della iena) 108 (Tutti i colori del buio) 119 a mezzanotte) 133
So Sweet, So Dead (Rivelazioni Too Beautiful To Die (Sotto il The Young, the Evil and the
di un maniaco sessuale al capo vestito niente 2) 120 Savage (Nude... si muore) 133
della squadra mobile) 109 Too Young #o Die (Morte
So Sweet... So Perverse (Cosi sospetta drminorenne) 120
dolce, cosi perversa) 110 Torso (I corpo presentano trac-
La Sorella di Ursula 111 ce di violenza carnale) 120 .
Spasmo 111 Trauma 122
Spirits of Death (Un bianco Trhauma 123
vestito per Mariale’) 112 Tropic of Cancer (Al tropico del
Squillo 112 Cancro) 123
StageFright (Deliria) 113 II tuo dolce corpo da uccidere
The Stendhal Syndrome (La 124 .
sindrome di Stendhal) 115 The Two Faces of Fear (I due
Strip Nude for Your Killer volti della paura) 124
(Nude per I'assassino) 115
The Sweet Body of Deborah (II V
dolce corpo di Deborah) 116
The Victim (Macchie solari) 124

Hidden Treasures
A.A.A. Massaggiatrice bella Amore e morte nel giardino
presenza offresi... 137 degli dei 138
A... come assassino 137 Assassinio made in Italy 138 Mania 142 ;
A tutte le auto della L'assassino e' quello con le Masquerade (Bassi istinti) 142 Yellow, le cugine 148
polizia. .137 scarpe gialle 139 Murder Target (L'uomo piu'
Agenzia cinematografica 138 velenoso del cobra) 144

Crimine a le 140
Ordine firmato in bianco 146
Death on a Four Poster (Sexy
Party) 140 Piu tardi Claire, piu tardi... 146
Delitto d'autore 140 La polizia brancola nel buio146
Delitto passionale 140 The Possessed (Una donna del
II diavolo nel cervello 140 lago)146
Double Murder (Doppio delitto)
141 Una ragazza piuttosto compli¬
cate 147
Eyes Without a Face 141 Rorret 147

II fiore dai petall d'accaio 141 II terrore con gli occhi storti147
Terror in the Grove 147
Giochi erotici di una famiglia The Third Eye (II terzo :
per bene 141 occhio)147
BIPOV^j

, fast moving MULTI-MURDER

>ICTURE ... GORE & GAL
Jotfor the squeamishw0Y
Blood & Black Lace
Blood & Black Lace
■—SHI

9IAHCARL0 GIANNINI - CLIME AUGER - BARBARA BOUCHET - ROSSELLA FALK - annum TRAHQUILLI
AHNABELLAINCONTRERA - EZIO MARANO - BARBARA BACH E con j STEFANIA SANDRELLI
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Blood & Black Lace

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 KARL CATHERINE JAMES
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STARRING: FRANK WOLF • FERNANDO REY • KARIN SHUBERT

PRODUCED BV: CINEMAR FILMS DIRECTED BY: ENZO G. CASTELLARI
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FRANK LATIMORE .KARIN SCHUBERT,-™, RAF VALLONE
 UNA CITTA’ E’SOTTO LINCUBO
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 AIAPKEIA: 103 AETITA

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DIRECTOR
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 106 Blood & Black Lac

LARRY WARD TERESA GIMPERA JACK STUART

FERNANDO POLACK EUGENIO NAVARRO
Regie: XAVIER SETO

INGRID THULIN • JEAN SOREL - MARIO ADORF

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Dutch sleeve for ‘Shadow of Deeth'

that he is about to turn into a werewolf (he
probably wished he were playing Waldemar
Daninsky rather than a Jack the Ripper sus¬
pect). The identity of the killer is blindingly
r// f%. C :

obvious, making this more of a whydunnit than

a whodunnit. Nevertheless, the numerous mur-
out with nasty relish, the finale in the killer's
secret chamber of horrors is appropriately over-
the-top and Piccioni's score is surprisingly
effective.
Video:
Italy: Mitel; Stardust. Both as 7 cadaveri per
Scotland Yard.
Soundtrack:
Italy: Beat CD on a double-bill with 7 Hyden
mok
Park la casa maledetta.

SHADOW OF DEATH

Emptiness Around')
L'assasin fantome (France: The Phantom
The Emptiness All Around (Holland: video
1968 s'pain/ltaly Eastmancolor 89m
Production Company: Leda Film
(Madridl/Meteor Film (Rome)
Director: Xavier (Javier) Seto
Producers: Diego Alchimede, Dino De Pascalis
Story: Santiago Moncada, Xavier Seto
LflCORTANOTTEDELLE
BRMBOLE DIVETRO
Screenplay: Gianfranco Clerici, Santiago
Moncada, Xavier Seto
Cinematographer: Antonio Piazza
Art Director: Arrigo Equini
Assistant Director: Cesare Semprebene,
Gonzalo Del Gras
BARBARA BACH*FABIAN SOVAGOVIC jose quaglio• piero vida
Cast: Larry Ward (Peter/John). Teresa Gimpera RELJA BASIC -DANIELE DUBLINO
(Denise), Jack Stuart (Giacomo Rossi-Stuart)
(Gert Mueller), Silvana Venturelli (Annie),
Fernando Polack, Eugenio Navarro, Javier
ENNIOIORRICONE• ENZ0I0RIA • ALdFlADO
Rivera. Jose Bastida. „ DORIA G. FILM «i - DUNHILL CIN. CA
JADRAN FILM - DIETER GEISSLER FILMPRODUKTION
A black-clad stranger drives into a town in the TECHNICOLOR - TECHNISCOPE
revealed to be Gert Mueller, now down on his
luck. Denise is married to John, an apparently
straight-laced pharmacist, but is having an
affair with Peter, his twin brother. Mueller sees
an opportunity for blackmail. Peter and Denise
Itelien locendine for ‘The Short Nioht of the Gloss Dolls'
 109

. EUGENIO FLUME.., Pit • PtODIIZIOHI tINEMiTDGRAFICNE HOMME

FARLEY GRANGER • SYLVA KOSCINA*

SILVANO ANNABELLA CHRIS FEMI KRISTA

TRANQUILLI - IHCONTRERA - AVRAM - BERIiSSI - NELL

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BRUNO BOSCHETTI cue i - BENITO STEFANELLI - IRENE POLLMER - NINO FOTI

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JOACHIM FUCHSBERGER
CHRISTINE GALBO

Rigia MASSIMO DALLAMANO &ENNIO MORRICONE EASTMANCOLOR

136
 HIDDEN TREASURES!
This section of the book was originally conceived as a straightforward appendix which provided cred¬
its and brief synopses for some of the more elusive gialli which were unavailable for review. However,
at the eleventh hour, I receive '
additional material from two
sources. Respected film
researcher Julian Grainger
kindly provided information
regarding some recent (and
largely unacknowledged) gial
and an Italian expert on cine¬
ma, Roberto Curti, has writter
some entertaining and inform
tive reviews for a number of
obscure titles. Consequently,
this appendix is now a groun<
breaking reference source for
those seeking pleasures
beyond the realms of widely
available spaghetti bloodbath
Read on, and enter the world
the elusive gialli...
DOPPIO
DELICTO
142
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DIRECTOR
ALBERT J.WALKER

jL*? UNACOPRODJJCCION
ITALO’ESPANOLA
PRODUCIOA POR
EDUARDO OE MAN/ANOS

I 70m in | TECHIMISCOPE-COLOR
 Style, sex and savagery are the main ingredients of Italian giallo
cinema, a highly salacious art form which thrives on fetishist
images of beautiful, scantily-clad females being menaced by
knife-wielding maniacs - often for the most obscure of motives!
Now this lavish book from the publishers of the best-selling
Video Nasties! brings you the definitive guide to this much-
maligned and rarely chronicled movie genre. Entertainingly and
informatively written by Adrian Luther-Smith, Blood And Black
Lace contains full reviews, and exhaustive cast and credit infor¬
mation (including video, laserdisc and DVD release details) on
over two hundred giallo movies, most of which have never been
listed in any other movieguide!
In this cutting edge volume you'll find expertly performed critical
dissections of such classic thrillers as Dario Argento's Bird With
The Crystal Plumage, Antonioni's Blowup, and Nicolas Roeg's
Don't Look Now. And where else can you read all about such
guilty treats as The Iguana With The Tongue Of Fire, One On Top
Of The Other, Strip Nude For Your Killer, and controversial
"banned" movies like Lucio Fulci's stomach-churning
New York Ripper?
Illustrated with extremely rare full colour posters, video sleeves
and stills from the movies in question. Blood And Black Lace is
an essential purchase for anyone interested in the darker side of
Italian exploitation cinema.

Stray Cat Publishing Limited,

PO Box 36,

Cornwall.
PL14 4YT.
ENGLAND £19.99