Il vizio ha le calze nere

Very rare but highly improbable giallo, that's about it. This movie is part of the late entries into the giallo genre and obviously hasn't much to say.

A lady in black (close shot on the black hose she wears)kills several young ladies (wearing undies, as usual) with no apparent motive (oh, really?). Except that the ladies are all related to a picture on which they appear altogether. The detective( John Richardson)penetrates the world of a very rich family where everything seems to be, well...mysterious.

Oh well, very usual indeed. Vice always finds home in the italian haute-bourgeoisie, loads of lesbian scenes & female nudity, and murders scenes piling up in a very tired way (all razors except one strangulation). The resolution is completely absurd (and the explanation of the sole survivor is utterly funny as she doesn't seem to be convinced of what she says).

The director has no sense of rythmn (essential in that genre) and lacks of strength when it comes to direct. The actors are like robots doing their thing over and over, lead by british actor John Richardson (and genre veteran)who was on the decline of his career.

The suspense does work anyway and for those who know the Giallo tricks, it's nevertheless obvious who's doing what. The director although tries to give a different tone (a comic one) with John Rochardson's sidekick, as if he wasn't interested in the suspense : that's why maybe the murders scenes are so mechanical and uninteresting.

For genre lovers only, IL VIZIO HA LE CALZE NERE has very few appeal on all levels even though the version I've seen is a 71 mn running time and appears to be heavily cut.

has been shot in Techniscope 2.35:1. Watch out for the horrible pan and scan version

Superwonderscope says : 4

This had absolutely zero atmosphere whatsoever. It felt, to me, like a made for TV film. The camera work wasn't too bad, it wasn't breathtaking but there were some very nice shots and sets/locations, so that kept me paying attention even when the story was either not keeping me interested, or just confusing me to the point that I wanted to turn off the TV. I do like that it's a mid-70s giallo rather than the more typical early 70s, because it meant that the fashion was quite fun to observe, being different from a lot of other gialli. Mid to late 70s fashion is some of the best and funnest and craziest in my opinion, but that's completely subjective. Still, it added another factor that kept me watching. Great furniture too.

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.

We've all been there - the middle of a murder mystery just because you happen to be a lesbian countess with an angry husband, and the victims being all your ex-lovers. Them damn police don't let up with their questions either. Don't they know that lesbian sex scenes are a giallo film's way of distracting you from the lame plot?

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.

Tano Cimarosa's directorial debut represents a well-intentioned but ultimately flawed entry into the giallo genre that never quite achieves the atmospheric tension it so desperately seeks. Set against the unlikely backdrop of San Benedetto del Tronto, this 1975 thriller follows the familiar template established by Dario Argento's masterworks, yet lacks the visual sophistication and narrative coherence that made those films so compelling. The story centers on a series of brutal murders targeting young women, all connected by their association with the wife of a prominent lawyer, but the execution feels more derivative than inspired.

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.

A young woman nicknamed Nellie is murdered with a razor by a woman dressed in black.The next victim named Emma has her throat slashed in a park.The police begins their investigation and question lawyer Anselmi with whom Emma worked as a secretary.The third woman is slashed to death by enigmatic beauty in black.All the victims were friends of layer's wife Leonora Anselmi."Reflections in Black" aka "Vice Wears Black Hose" is a dreary and unremarkable Italian giallo with plenty of sleaze and some sexy Euro-exploitation starlets including Dagmar Lassander and Magda Konopka.My copy runs 74 minutes and I don't have any idea where to find fully uncut 90 minutes Italian version.If you like your gialli with sleaze and full-frontal nudity check this one out.6 out of 10.