The Child - Die Stadt wird zum Alptraum

A child murderer is running loose in Venice. Distraught father Lazenby investigates after his daughter is killed.

A superb giallo from Aldo Lado. From the very first scene Lado builds up a tense atmosphere that holds it's grip on the viewer until the very end. In keeping up with some of the giallo's best trademarks, this film has excellent photography, making good use of Venice's enchanting scenery. Ennio Morricone's haunting musical score is another huge plus.

The film is well written and has a good story, albeit a bit complicated. It took me two viewings to get everything, but maybe I'm just a little dense at times. Maybe it doesn't bear too much scrutiny, but I didn't find any huge plot holes. The revelation of the killer is, as in most giallo's, quite a surprise. I'm guessing you won't guess it.

George Lazenby (in my opinion a very underrated Bond) is a very likable leading man, gives a credible performance as the grieving father and amateur sleuth and Anita Strindberg looks smashing.

I advice you the check this one out if you're a fan of this genre.

An obvious catalyst to Nic Roeg's Don't Look Now. This film had a great first half but after that it sort of lost the plot a bit. The ending was horrible and some of the dialogue to risible. On the positive side, the settings were splendid and the music was harrowing at times.If your interested in Giallo films this is not the place to start your mission. Try Aldo Lado's far superior Short Night of Glass Dolls instead.

For those of you wondering whether George Lazenby ever made another picture, after incarnating the most under-appreciated Bond ever in 1969's "On Her Majesty's Secret Service"...well, here he is, three years later, in the Italian giallo "Who Saw Her Die?" In this one, he plays a sculptor named Franco who is living in Venice. When his cute little red-haired daughter is murdered and found floating in a canal, Franco naturally embarks on a quest to find the demented child killer. Lazenby, it must be said here, is almost unrecognizable from three years before. He sports a sleazy handlebar moustache in this film and looks decidedly thinner, almost gaunt, as if he'd been afflicted with a wasting disease in the interim. And the film itself? Well, it's something of a mixed bag. Yes, it does feature stylish direction by Aldo Lado, as well as a pretty freaky score by master composer Ennio Morricone, consisting largely of echoey chanting. We are also given plentiful scenery of Venice, which looks both beautiful and seedy here, an intriguing story to set our mental teeth into, AND Adolfo Celi, always a welcome presence (and another Bond alumnus, from "Thunderball"), here playing a mysterious art dealer. On the down side, I must confess that I was at a loss to understand what the hell was going on throughout most of the picture; what explanations do come toward the end are either half heard from distant rooms or grunted out during fisticuffs. Dubbing doesn't help matters (subtitles would have been a nice option), and the film is never particularly scary or suspenseful. I'll probably need to sit through this one again to get a better handle. Still, "Who Saw Her Die?" remains an interesting, nice-to-look-at giallo, nicely captured here in widescreen on yet another fine DVD from Anchor Bay.

In 1972, writer-director Aldo Lado made two outstanding giallos, THE SHORT NIGHT OF THE GLASS DOLLS (a.k.a. PARALYZED) and this film, which predates Nicholas Roeg's similar but far more well-known DON'T LOOK NOW (1973).

Young Roberta (Nicoletta Elmi) arrives in Venice from London to visit her father, celebrated sculptor Franco (George Lazenby). Franco's estranged wife, Elizabeth (Anita Strindberg), stays in England. After a few days, as Franco is making love to a girlfriend, Roberta is kidnapped. Soon after, her corpse is found floating in a canal.

Racked with guilt, Franco investigates the crime on his own. His chief suspects include a prominent but ruthless businessman, Serafian (Adolfo Celi), and an attorney with a history of pedophilia (Peter Chantel). He suspects both men know more about Roberta's death than they let on. Meanwhile, though, the killer is always one step ahead of Franco, knocking off everyone who might be inclined to help him.

Lado and co-scenarists Massimo D'Avak and Francesco Barilli add many subtle touches to the rather crude story line. For example, Venice itself becomes a character and conspirator, and is photographed as a nearly colorless and malevolent place. Early in the movie, Franco shows his disrespect for the city, offhandedly remarking that "Venice is a dead city," and wishing it would simply sink into the water. Later, we see that the businessman and attorney, representing the old money and establishment values that run and keep Venice "afloat," conspire to protect the killer and, indirectly, to "punish" Franco.

Not only is Venice viewed as a deeply evil, it twists -- even in small ways -- the people who live there. In the early minutes of WHO SAW HER DIE?, most of the male characters are shown touching or petting Roberta rather inappropriately. In addition, the local constabulary is extremely lame and inactive. When the bodies start to pile up in the wake of Franco's investigation, a detective tells him to let the police handle the dangerous work. Of course, they continue to do nothing but in the end take full credit for catching the killer. This conspiracy of silence extends even to the father of a child who was killed in a manner consistent with the way Roberta was killed. When Franco tries to enlist his help, the father acts suspiciously and refuses to get involved.

The movie's conspiracy subtext extends to two secondary characters, Phillip and Ginevra, who wish to escape Serafian's grip but cannot. In the Venetian universe created by Lado and Co., Ginevra is willing to both help Franco find the killer and expose Serafian as indirectly responsible for Roberta's death. For her trouble, Ginevra is murdered but nonetheless helps Franco get closer to revealing the killer's identity.

In and around these rich contextual elements, the giallo aspects of WHO SAW HER DIE seem rather perfunctory. To be fair, however, there are a couple of well done thrill-for-thrill's-sake stalking sequences, and one creepy moment when Elizabeth, alone in Franco's apartment, is terrified by bumps in the night that are nothing more than a housekeeper doing some chores. And Ennio Morricone's excellent score features a purely musical insight into the killer's tormented mind, a kind of "murderer's refrain" that is punctuated with calls and cries by a chorus of young female voices.

WHO SAW HER DIE? (1972) *** George Lazenby, Anita Strindberg, Peter Chatel, Adolfo Celi. In this engaging giallo directed by Aldo Lado, George Lazenby plays Franco Serpieri, a well-known Venetian sculptor. After Serpieri's young daughter is murdered, he grows impatient with the efforts of the police and tries to find the killer himself, with some help from his estranged wife (Strindberg). The film sticks to a familiar formula: the likely suspects are killed off one by one, and the last man (or woman) standing is revealed as the murderer. But the process feels clumsier than it ought to here, and since the killer turns out to be one of the film's least developed characters, the ending is less than satisfying. Fortunately, though, painterly cinematography and an intriguing score by the brilliant Ennio Morricone help compensate for the weaknesses of the script. Recommended.