Sieben Jungfrauen für den Teufel

This is interesting giallo-style Italian thriller similar to the later horror masterpiece Suspiria but without the supernatural elements, and the schoolgirl giallo What Have You Done to Solange? but with less sleaze (in fact, it seemed like the edited version shown in the US didn't even have any nudity in it). It's very hard to find these days, but worth finding. It's a very seminal film if nothing else. The first bathtub murder was borrowed verbatim for the murder of the Cristine Galbo character in Solange. I'm pretty sure the morbid joke of the killer keeping the first body around right under the nose of the later victims inspired Black Christmas, which in turn inspired Halloween, and after that the deluge. (In fact, much of the later US slasher subgenre could easily be traced to two Italian films--this one and Mario Bava's Twitch of the Death Nerve). And certainly no one can deny the influence on Suspiria. While it probably wasn't the first horror movie/thriller to be set in a girl's school or girl's dormitory, it might have been the first to fully the exploit the psycho-killer and "Ten Little Indians" possibilities of this creepy setting. If you like this movie(and you speak Spanish), also check out the contemporary Spanish horror/thriller, La Residencia which is very similar.

Creepy Italian horror mystery very much like an early Dario Argento film with mad killer stalking a girls posh school. Well photographed and very atmospheric. Killer is a surprise (but follow the clues!) Never released on VHS or DVD. I saw this as a kid in 1968, never saw it again but it vividly stuck in my mind.

There are artists (like Argento)and there are hacks (like Bruno Mattei) and inbetween there are pros like Antonio Margheriti. He could turn out quite competent movies which, although lacking in originality, have a certain verve. This one develops more along the lines of an Agatha Christie effort than anything else, eschewing as it does the supernatural elements of the ostensibly similar SUSPIRIA.

I wouldn't bother with the cut version as it has been trimmed of almost all the nudity and violence, which are pretty much what one watches these things for. What remains are the performances: Michael Rennie fans should beware as he is barely in it, but there is a great (dubbed) turn from Lorenza Guerrieri as Jill, a hyper-imaginative pupil.

For Margheriti fans, I would place this among his dreary late-60s efforts - nowhere near the Gothic elegance of DANSE MACABRE or VIRGIN OF NUREMBERG, and neither coming close to the simple joie de vivre of his 80s movies with David Warbeck.

Unlike many Giallo films, Antonio Marghetiti's Schoolgirl Killer hardly features any of the blood, sex and general sleaze that have made the genre famous, and instead puts its focus on the murder mystery and central set of characters. In fact, it's amazing just how restrained this film is, considering that it is set in an all-girls school and how almost every Giallo film with a similar setting takes full of advantage of this. The director does an exquisite job of presenting his story and his setting, and the film features some stunning camera work, which beautifully captures the well designed sets, and the fashion sense of the girls at the college. The film begins with a murder in which the killer strangles a woman and has the body put into a trunk which is then delivered to an all-girls school. Shortly thereafter; Betty-Ann, a student at the school is murdered in the basement, and when another young girl is killed in the shower, the police, led by Inspector Durant, are called in. And they're not the only ones on the case, as amateur detective Jill is also investigating.

It's true that there is hardly any originality at all in the film, and influences range from the obvious films such as Blood and Black Lace, to a certain American classic. This has lead many to call the film tired and unexciting, but I disagree as the relaxed way that the story is told allows the audience to get involved with the mystery, and the comedy elements of the film bode well with all giggling girls school environment. The main problem with this film is that's barely any blood whatsoever, which leaves the murder scenes feeling rather. There are other subplots going on, however - things such as the tentative romance between a teacher and one of the pupils, and Margheriti does well at presenting a whole range of characters, any of which could be guessed at as the killer before the twist ending is revealed. The ending of the film has been used so many times now that it's a cliché, but that aside; it does come as something of a surprise. The problem with the ending, however, is that it basically admits that most of the film has been rather pointless, as there were only two people that needed to be murdered - but Giallo isn't well known for logic, and while this might be derivative, it's still well worth seeing!

While this is quite a popular giallo – thanks largely to its sensationalistic title and the fact that the film was originally conceived, as CRY NIGHTMARE, by Mario Bava – its reputation is rather mixed and, having watched the thing for myself, with good reason! Not only is there barely any nudity (with the violence being similarly tame!) but the plot itself – despite the much-used girl-college setting (among the picture's myriad alternate titles are SCHOOLGIRL KILLER and THE MINISKIRT MURDERS!) – is fairly weak…references to Alfred Hithcock's PSYCHO [1960] and Bava's own THE GIRL WHO KNEW TOO MUCH [1963] notwithstanding or, for that matter, its own affinity with another far superior effort from Margheriti himself, SEVEN DEATHS IN THE CAT'S EYE [1973], and Dario Argento's PHENOMENA [1984])! Besides, the whole giallo atmosphere is further nipped in the bud with an overwhelming light touch courtesy of a vivacious girl student who fancies herself a sleuth! Of course, the script supplies plenty of red herrings – with at least three characters made out to be the possible killer – but the revelation at the climax brings little surprise (while admittedly effectively handled); the attempted murder at the pool, however, is simply ludicrous. The film is nevertheless good-looking, features a kitschy score by Carlo Savina (shamelessly borrowing the instantly-recognizable riff from Neal Hefti's "Batman" theme!) and a reasonable cast – including ex-Hollywood leading-men Mark Damon and a rapidly-aged Michael Rennie (as the Police Inspector on the case), Luciano Pigozzi (the Italian Peter Lorre as the school's peeping-tom caretaker i.e. the type of role he could play in his sleep) and, it goes without saying, a bevy of attractive females, on both the student and teacher fronts – a lesbian undertone is even implied in the relationship between the middle-aged headmistress and her young assistant and a newly-arrived teacher sports androgynous features! – but especially put-upon heroine Eleonora Brown (who had actually been Sophia Loren's victimized daughter in Vittorio De Sica's award-winning TWO WOMEN [1960]!).