Die Stimme des Todes

An enjoyable, if somewhat generic giallo here from director Antonio Bido which combines all the elements we know and love (gloved killer, convoluted plot, red herrings, smoking, moustaches), but fails to inject enough weirdness, gore or nudity to raise it up a notch. Still, for what it is, it does the job.

In Rome, a pharmacist gets his throat slashed and a lady (Mara) trying to get some aspirin almost glimpses the killer, so she becomes a target too. After a near miss, she moves in with her ex-boyfriend Luka (Corrado Pani from Matalo!) and the plot starts getting a bit overcrowded with suspects and potential victims. Where Mara works as a cabaret dancer, we have potential suitor the dancing guy, potential suitor the writer guy, and Paolo Malco...who might be the director there? We also have the pharmacist's assistant who is going to see a loan shark who is getting strange phone messages involving a recording of screaming, marching, dogs barking, Germans talking. Could that be a clue or just a recording of the It's A Knockout final 1976? The loan shark has a lover who gets her head shoved into a cooker, and they all served on jury to convict Franco Citti of murder, and he's just escaped from jail. Plus, the judge at that trial gets involved as well. And a mysterious picture, because that's standard practice in a giallo.

Phew! That's a lot of characters to introduce, and The Cat's Victims puts you through the paces in getting through them all while Luka runs around chomping cigars and trying to figure out all this for himself, a journey that leads him through Rome to Padua, where at last things get more bizarre as he traces all the victim's families. The murders are a bit few and far between, and the gore quotient low, but I think most giallo fans will not find much to complain about.

Except the lack of nudity.

After the murder of a pharmacist, a series of follow-up murders to those around her forces a woman to turn to her boyfriend to help get her out of the situation, and when he realizes that there's a far-reaching motivation for the crime spree races to stop it in order to protect her.

This one here was a generally enjoyable genre entry. Among the film's brighter aspects is the actual mystery at play that's pretty intricate and allows for great time uncovering its purpose. From the seemingly random attack on the pharmacist followed-up by the failed attack on the witness, there's a worthwhile lead in that makes it curious about the need to decipher the recorded message left on the phone filled with dogs barking and the threatening message. Likewise, the unraveling mystery about the criminal case all the main players are involved in makes this one interesting as the film generates the kind of grand connection that's fully revealing in a shocking finale. As well, the film also manages to ge a lot to like with the stalking scenes featured throughout here. The initial attack in the store is a fine shock, as is the aborted stalking attempt in the girls' house where the killer gets scared off before doing anything are rather fun scenes that give this some enjoyable thrills. The other attacks, ranging from the stellar sequence of the girl being attacked in the wardrobe department, the bathroom ambush in the hotel or the final confrontation in the house give this some rousing action along the way as well. These here give the film a lot to like overall. This one does have a few minor flaws. The main problem is the fact that this one really feels underwhelming with a lot of the stock genre tropes that are in play. The investigation manages to forsake a lot of rational thought from the leads as the fact that bodies have been piling up with no interaction from the authorities. The attacks that happen here should warrant police protection or more of a presence here, yet it's all dismissed due to a one-line writer-off thinking the police would rather throw the party in jail rather than protect them for what they know about the crimes, a fact brought up after several bodies have turned up and one attack on their lives which is completely ridiculous to believe it would play as such. That also ties in marginally with the other flaw in that there's a pretty sluggish pace here. The central investigation here tends to rely much more on sudden realizations about clues and sheer coincidences about the various events which are told in excruciatingly long conversations. The meeting with the pharmacists' widow or the tile salesman are filled with fine informational leads that just lead to some overlong scenes, much like the final half which consists mainly of him running around the small-town by himself collecting the final pieces to the puzzle alone while she's alone at the house with no protection. This should've been carried out together instead of setting her up for the killer to attack, another feature from the earlier segment and are what holds this one back.

Rated Unrated/R: Graphic Language and Violence.

A young woman Mara(Paola Tedesco) accidentally stumbles into a murder in progress of a pharmacist in his store, she then finds that she is now being sought be the killer. Instead of notifying the police, she intrusts the services of an old cigar chomping friend Lukas (Corrado Pani, Secrets of a Call Girl, Gambling City ) to help investigate the killing and prevent the killer from killing her. Lukas investigation gets progressively more confusing and frustrating as people he looks to for information turn up dead or are none to helpful.

Bido of The Bloodstained Shadow fame, has a reputation for approaching his films differently and here again the film hides its dark secret until the finale of the film. The film suffers a little as the print available is very dark and grainy, a fact that might lead some to believe the film has no merit, but it does and it also has a message that the past comes back to haunt everyone. There are also some gruesome killings to keep the gorehounds happy. Pani puts in a fine performance, despite some dodgy dubbing and the score by Trans Europa Express is powerful and memorable and much in the vein of a Goblin opus.

Purely by coincidence, I found an old & dusty videotape in the horror closet of an acquaintance of mine and the cover displayed the bizarre title (in Dutch) "Revenge of the Cat". I had to perform a search on the actors' names in order to find out that it actually was "Watch me when I Kill" (a.k.a. "The Cat's Victims", a.k.a "The Cat with the Jade Eyes") and initially that was a pleasant surprise, since this Italian late 70's giallo has been on my purchase list for quite some time now! After seeing it, I'm even more glad that I didn't spend money on a fancy DVD-version, as it is quite a disappointing and overly confusing horror effort. Surely not the worst film of its kind, but pretty bleak compared to the works of Sergio Martino or, of course, Dario Argento. The main problem with Antonio Bido's film is that it makes absolutely no attempts to involve the viewer in the search for the maniacal killer. Someone, who stays off screen all the time and deforms his voice whenever he leaves messages to his next victims, is seemly randomly killing people and it nearly takes half of the movie before we get informed that all the victims sat in the same jury committee during a lawsuit against a criminal who recently escaped from prison. That still doesn't reveal the killer's identity, but at least you can guess along from this point. Due to the lack of background during the beginning, "Watch me when I Kill" often feels a bit slow and dull. There's not much atmosphere and ever fewer tension, and the private detective character isn't the least bit amiable. The murders, on the other hand, are lusciously gore, with a close-up slit throat, a woman suffocated in a dish of food and the must brutal strangulation I ever saw. The cinematography sadly is too dark, although that might have been due to poor videotape quality, but the score is terrific (probably the best thing about the entire film) and the climax is fairly surprising.

I am subdued by the realistic darkness of this film. Giallos as a whole may have scenes of disturbing violence, including rape or murder, or other forms of torture and exploitation - but often it's presented in such a manner that it's not realistic. Giallos are either too stunningly beautiful to be scary (my personal favorites), and when they aren't stylish and fashionable or lavishly atmospheric, there's so much sex and silliness that the sub-set of giallo films are obvious predecessors to American popcorn slashers.

Not so with Watch Me When I Kill, despite the absurd title, I avoided this giallo for months because I suspected that it was one of the slapstick exploitation proto-slashers that aren't really my preferred gialli, just because of the awful stupid English title. In fact, everything about English translation is why this film only gets a 7 and not an 8 or even a 9. The dialogue is too clunky and quaint, and I would really love to find an Italian-language version of this flick. The Cat with the Jade Eyes is the literal Italian title, and that's just the tip of the iceberg in how American marketing borderline destroys some of these old Italian sleeper hits.

Unlike most giallo directors, Antonio Bido loved middle aged women. Middle aged women make appearances as real solid characters in both Il gatto dagli occhi di giada and Solamente Nero, and except for one youthful main character every other woman in this film is over 50 except the opera singer who might be 35-40ish at youngest. Bido shows their faces, shows these "invisible women" as people watching and waiting and being worthy of being part of his film.

But that's not what makes Watch Me When I Kill so extraordinary. This movie is scary. The noises on the tape in the beginning of the film are truly disturbing, some scenes are mind-bendingly surreal but are more reminiscent of Bava or even Roman Polanski than Argento, and the end is so, so, so, so dark.