El gato de las nueve colas

When fans of Dario Argento watch his films, they expect to see certain things: violence, amazing camera-work, violence, crazy story-lines, violence towards women, etc. And that's the main problem with CAT O' NINE TAILS: it doesn't deliver those things fans of Argento expect to see. If you take Argento's name off of this film's credit, I'm sure a lot of people would consider it great but because it's sorta thrifty when it comes to the usual Argento ingredients, too many have dismissed it as being average. Most of the on-screen killings are strangulations. I'm sure many fans of Argento were disappointed with this. And most of the people killed are men, which probably also disappointed fateful Argento fans, accustomed to seeing the director murdering women in spectacular ways.

Compared to other non-Argento Gialli, CAT O' NINE TAILS is excellent. For example, it is much better than DELERIUM, SOLANGE, TORSO, THE CASE OF THE BLOODY IRIS and slew of other average or mediocre gialli out there. It's a shame this movie is a Dario Argento film because it is completely overlooked as a great giallo.

With that said, the film still has some weaknesses. It's all over the place. One minute, it's a mystery. The next, it's a racing movie. Then it suddenly becomes a romance story, etc. The lack of focus in the direction and the script is evident throughout the movie. In comparison, THE BIRD WITH THE CRYSTAL PLUMAGE was much more focused that this second movie in Dario's animal trilogy. The characters' motivations are also murky and muddled. The relationship between handsome Franciscus and not-so handsome Malden is fun if not really convincing. There's simply very little background information about those two characters, certainly James Franciscus' character, who is as one dimensional as humanly possible. But the acting is better than most Argento films and what's lacking in details in the characters is compensated by the excellent cast. The little girl was really good. The comedic bits, like the barber shop scene or when Franciscus decides to wear a raincoat after making love (?!?!) fell flat with a big thud. But the film's story-line IS interesting, if implausible. The feel and look of the film is dream-like and the music is excellent. Even if CAT O' NINE TAILS doesn't have as many signature Argento scenes as his other famous films, there are a couple of stand-out moments or shots peppered throughout which makes this worthwhile viewing. And there's actually an ending to this Dario Argento film.

All in all, I think CAT O' NINE TAILS is totally memorable. It is much better than the crap Argento has been making these days. And like I've said above, it is much better than most non-Argento gialli made in those days. So, the only thing wrong with this great film is that it's a Dario Argento film.

I saw this on The Horror Channel.

Having seen a few Dario Argento horror flicks on this channel now, I would dare say that Cat O' Nine Tails is the most restrained, at least in the gore/violence stakes, of those I've watched. There are moments of extreme but swift, clever nasty bits, though.

I guess you'll be watching this cos it is by this so-influential 'Italian Hitchcock' maestro rather than for its story, but having said that, it's decently far-fetched enough but with enough relevance to paranoia around government testing of miracle drugs and all that...

It looked to me to have been made in English, rather than dubbed, or could just that the brilliant, understated performance by Karl Malden was and everyone else were dubbed after. He plays a blind, retired journalist, who has a young orphaned girl as his visual aide and along with a current newspaper reporter,(James Franciscus) they uncover all these secrets after a man, they suspect, was pushed under a train, rather than falling and then, other murders.

I'm no expert on the horror genre but would dare say that this still has signs of the director's visual stylish daring, but is less operatic than some of his, being more workmanlike and 'American'. It still works well, but is more akin to a crime thriller than out-and-out horror, though we do get moments of terror and suspense and the odd twist in the tale.

This might be a lesser Argento (number of reviews and score on IMDb) but is still a heap better than many Hollywood affairs but somehow, doesn't have that magic ingredient that his best movies have. Quite good, but not great.

Okay, most critics even Argento lovers give this film poor reviews. I admit this is not his best work, but it's not a bad mystery Giallo film and I enjoyed it a lot. From the intricate plotting, to the impressive Argento style camera-work, and those trendy (circa 1971) sets this film is a winner. I saw this at the theater when it was released, as a teenager coming off seeing Bird W/ The Crystal Plumage 2 years before so I expected at least another stylish horror film. I got it black patent leather gloves and all. Argento himself said this is his most disappointing film. I disagree it delivered the goods in a well made, suspenseful, well plotted, never boring and good looking package. His worst film by far is the atrocious Phantom of The Opera (1998). Avoid that one. Although Cat O' Nine tails is no Suspiria or Deep Red, it still is a worthy addition to any Argento or Giallo horror film collection. I give it 8/10.

The second Dario Argento movie is one of his classics, although not as excellent as "L'uccello dalle piume di cristallo". Also here there's everything you expect from an Argento picture -an extremely well directed thriller, exciting shots and a very good editing.

The story is original, but at the end everything seems a little... thrown away, it seems that Dario was in a hurry to finish and the terrible truth at the end has something wasted. A journalist and a blind man investigate about a series of murders -as it happens in many Argento films. Their research focuses on a medical institute, which is developing a medicine for curing criminal instincts.

James Franciscus, the leading man, is too American and too handsome for being a credible Italian journalist. And the scene in the crypt is highly improbable -Franciscus penetrates a crypt in order to look for a necklace...

Good points are the shots -subjective shots-, in which the spectator can follow the action with the assassin eyes. Good cinematography, exciting soundtrack of Ennio Morricone and excellent presence of Karl Malden -he acts very well the role of the blind man.

If "L'uccello dalle piume di cristallo" deserves 9 out of 10, "Il gatto a nove code" deserves "only" 7 out of 10.

I just can't understand the editors of the "Maltin Movie and Video Guide" sometimes. How could they possibly give their lowest "Bomb" rating to 1971's "The Cat O'Nine Tails," for example, citing its "graphic gore and sex" and "bad dubbing"? The uncut DVD that I just viewed had hardly any gore at all, one very brief topless scene and was excellently dubbed (indeed, the main characters look to be speaking English). This is actually a very fine mystery thriller that should have received 3 stars from this often-dubious guide. In the film, a blind ex-reporter played by Karl Malden teams up with journalist James Franciscus to investigate a string of murders that takes place following a break-in at a genetics lab. The two make a fine and believable team, especially when joined by Malden's cute little niece (Cinzia de Carolis); I could have easily seen the pair continuing on to a crime-busting TV series of their own. Speaking of TV, this film often reminded me of old "Avengers" episodes, what with a crazed killer doing away with folks around a scientific institution while our heroes scramble to track him/her down. Of course, though, this is a Dario Argento giallo--his least favorite of all his films, he tells us in one of the DVD's many extras, but a very entertaining one from where I sit. The picture has a complex plot that takes many unexpected turns, involving genetic anomalies, garrotings, a visit to a gay bar, a double poisoned-milk tribute to Hitchcock's "Suspicion," kidnapping, blackmail, an insult contest, a very-high-speed car chase, grave robbing, death by locomotive and elevator shaft, and on and on. Ennio Morricone here delivers yet another superb score, alternating between a creepy childish lullaby of sorts and discordant, pulsating, arrhythmic jazz. The film also features some excellent dialogue and handsome production values. A bomb? Hardly!