A plot that hinges on authorities refusing to believe a woman about a crime has a powerful resonance right now; Bava of course had no intention nor capacity to explore that resonance in 1963 (or likely ever). But there are moments where that hits all the same. There are parts of this that should be iconic (the string trap, the first murder, the pillar cleaner), but they just miss the mark. The filmmakers are capturing a lot of beauty and tension--the frame is full of sights worth drinking in--but the story needs to delve into what its presenting more fully to become a great film. Instead, we get a truly horrible scene where sexual/domestic violence is played for a romantic joke and an ending that works its hardest to rob the lead woman of her "she was right all along" moment.

October count: 11/31

I feel very happy that I’ve watched the first Giallo ever :)

Like proto-De Palma, this has so much going for it in terms of style and great-looking black and white photography that I was in hog heaven.

And remember kids: don't do marijuana cigarettes because you'll just black out for days and dream up a bunch of murders.

I really liked this. It's also called Evil Eye.

Leticia Roman plays an American, obsessed with crime novels, visiting Rome for the first time, who witnesses a murder. No one believes her though because she passes out and when she wakes up, the body's gone. Enough things about her story makes sense though so she and her new beau, a young and fetching John Saxon, start to investigate.

This had a few twists and turns and also starred Valentina Cortese and Dante DiPaolo. Oh, Mario Bava directed and he and Sergio Corbucci cowrote the screenplay. Pretty cool.

thoroughly enjoyable (although those dragged out moments of over the top tension almost did my little heart in 😣) 
the plot is intriguing, the set is picked really well, actors are good but the best thing about this is the photography!! ohhh my gawwww it was amazing, that gorgeous black and white, the framing omg. bava seriously knows his camera and uses it like an extension of his mind. i like gasped at every other shot.

the narrative deffo takes a backseat as is usual in this genre and some abrupt cuts reflect that. the wacky logic behind this culminates in a bizarre but lighthearted ending which i thought was a good way to end it :)

A plot that hinges on authorities refusing to believe a woman about a crime has a powerful resonance right now; Bava of course had no intention nor capacity to explore that resonance in 1963 (or likely ever). But there are moments where that hits all the same. There are parts of this that should be iconic (the string trap, the first murder, the pillar cleaner), but they just miss the mark. The filmmakers are capturing a lot of beauty and tension--the frame is full of sights worth drinking in--but the story needs to delve into what its presenting more fully to become a great film. Instead, we get a truly horrible scene where sexual/domestic violence is played for a romantic joke and an ending that works its hardest to rob the lead woman of her "she was right all along" moment.

October count: 11/31

I really liked this. It's also called Evil Eye.

Leticia Roman plays an American, obsessed with crime novels, visiting Rome for the first time, who witnesses a murder. No one believes her though because she passes out and when she wakes up, the body's gone. Enough things about her story makes sense though so she and her new beau, a young and fetching John Saxon, start to investigate.

This had a few twists and turns and also starred Valentina Cortese and Dante DiPaolo. Oh, Mario Bava directed and he and Sergio Corbucci cowrote the screenplay. Pretty cool.

I feel very happy that I’ve watched the first Giallo ever :)

Стильно, модно, с классной операторской работой, юморком и красивой девушкой. Долго же я откладывал этот просмотр.

Classy and playful little Italian murder mystery directed by Mario Bava, riffing on Hitchcock as a young tourist visiting Rome has an unfortunate night leading to being witness to murder that no one believes occurred.

The soundtrack goes down smooth here, along with some more suspenseful set pieces that carry the film through some repetitive patches. It is more fun natured than Bava’s more grisly body of work, but I think fans of the Hitchcock playbook of McMuffins and misdirection might have fun picking apart sections.