Agrega una trama en tu idiomaA number of women are brutally murdered. It quickly becomes apparent that all the victims are connected to a woman who had been having illicit affairs with them.A number of women are brutally murdered. It quickly becomes apparent that all the victims are connected to a woman who had been having illicit affairs with them.A number of women are brutally murdered. It quickly becomes apparent that all the victims are connected to a woman who had been having illicit affairs with them.
- Dirección
- Guionistas
- Elenco
- Anna
- (as Pier Anna Quaia)
- Mario the coiffeur
- (as Giovanni Brusatori)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Cimarosa, better known as a character actor in Italian comedies, demonstrates a basic understanding of giallo conventions but struggles to create genuine suspense or visual flair. The cinematography captures the coastal setting adequately without ever transforming it into something memorable or haunting. The killer's black-clad appearance adheres to genre expectations, though the reveal lacks the psychological complexity that distinguishes superior entries in this field. The film's pacing suffers from uneven editing choices that dissipate tension rather than build it, particularly during the investigative sequences that should drive the narrative forward.
John Richardson delivers a competent performance as the investigating lawyer, bringing his characteristic screen presence to what is essentially a thankless role. Dagmar Lassander provides the requisite glamour and vulnerability, though her character remains frustratingly underdeveloped. The standout performance comes from Ninetto Davoli, whose natural Roman charm and spontaneity inject much-needed energy into otherwise perfunctory proceedings. His scenes provide the film's few moments of genuine life, suggesting what might have been achieved with a more inspired approach throughout.
The film's most significant weakness lies in its inability to generate sustained atmosphere or believable character motivations. While the murders are adequately staged, they lack the baroque artistry that defines the best giallo films. The investigation proceeds through predictable beats, and the eventual revelation feels arbitrary rather than inevitable. Cimarosa's script, co-written with seasoned professionals, fails to provide the psychological depth or surprising twists that genre enthusiasts expect. The dialogue often feels stilted, and the relationships between characters never achieve the complexity necessary to invest viewers in their fates.
Despite these shortcomings, the film occasionally succeeds in creating isolated moments of genuine unease, particularly in its use of telephone threats and surveillance imagery. The score, while not particularly distinctive, supports the action adequately and avoids the overwrought orchestration that mars some contemporary efforts. The production values remain consistently professional, suggesting that the film's problems stem from conception rather than execution.
Overall it's not actually bad, it's just not good either and has no atmosphere whatsoever which is unfortunate in a giallo film. But it's better than I originally thought.
First, this film does a couple things right. The dialogue is better than it has to be, and it mixes in moments of wit and humor throughout the script which are a nice bonus. The acting varies. Some of the actors are quite good. Some even convey appropriate grief in response to murder. However, there are other actors here that are utterly unconvincing as their "characters." It's pretty bad at times.
The film never decides on a proper protagonist. There are 3 or 4 contenders. But no central hero to root for.
In the end, the villain does not get their proper time to shine in all their madness. It felt unsatisfying. I'd skip this one.
Yep, the killer has black gloves and an open razor, the victims are young and often naked ladies, and there's loads and loads of nudity to keep you awake between the interminable police investigation scenes. The main focus seems to be mainly on John Richardson the policeman and his sidekick, who suspiciously is played by director/actor Gaetano. There's also a keen rookie cop and his girlfriend that clog up the investigation side of things too, and bulk out the plot.
As usual a photograph is a main plot point, there's a few effective stalking scenes, but even the rampant nudity couldn't really carry this one all the way through. They didn't give Giacomo Rossi-Stuart enough screen time either.
¿Sabías que…?
- TriviaWhen the cultured but assumedly heterosexual dress designer happens to employ the French phrase "mise en scene" to "set the scene" for his testimony, Sgt. Panto, who just assumes all designers and hairdressers are automatically gay [he's previously insinuated that the couturier wears his own wares, and later professes the belief that the guy's a "fag"], on a hunch it must be something subversive and immoral, mimics back "mise en shame", so as to indicate, wrongly, that he knows it's pervy code for a proposition to commit some sort of disgusting same-sex act.
- ErroresWhen the cultured but assumedly heterosexual dress designer happens to employ the French phrase "mise en scene" to "set the scene" for his testimony, Sgt. Panto, who just assumes all designers and hairdressers are automatically gay [he's previously insinuated that the couturier wears his own wares, and later professes the belief that the guy's a "fag"], on a hunch it must be something subversive and immoral, mimics back "mise en shame", so as to indicate, wrongly, that he knows it's pervy code for a proposition to commit some sort of disgusting same-sex act.
- Citas
Dressmaker: Our work requires a certain "mise en scene." ... Do you understand Sergeant?
Sgt. Pantò: Well,,, I try ... So I wanted to ask you if you ever dressed as a woman?
Dressmaker: Me, dress as a woman? Why would I?
[Panto stutters, trying to avoid an indelicate or explicit response]
Dressmaker: Mise en scene?
Sgt. Pantò: [cutting him off, relieved he didn't have to say it first] "Mise en shame!" Exactly!