L'étrangleur

A weird one.Nothing like this had been done before,and it has never been imitated since.Only Richard Fleicher's movies ("Follow me quietly" ,"the Boston strangler" and "10 Rillington Place") have something (very vaguely) similar.

It is a film actor Jacques Perrin undoubtedly made as an act of self-renewal.At the time ,he was probably sick and tired of the nice characters he played: the nice journalist in "Z" ,the nice sailor in "Les Demoiselles DE Rochefort" and the very same year as "L'Etrangleur" ,Prince Charming in "Peau D'Ane" (aka "Donkey Skin")! Playing a fairy tale prince and a strangler the one after the other was quite a feat for an actor!

Perrin was an amazing choice anyway:his boyish look was not generally scary.Because if you are looking for a horror movie,you have to move on. The strangler has developed "happiness sickness" and he kills only women who "look " unhappy,to help them.Why not men?,he's asked .He answers that he has never met a man with a miserable face in the dark streets of the town .A cop (who has just resigned ?) gets in touch with him and discovers he is followed by "the jackal" a man who steals money and jewels from the dead bodies.

It's a movie easy to admire but difficult to like.As for me,I like Fleischer's works best and in spite of its great qualities,it leaves me unconcerned .

Living in the middle of Paris, a detective sets out to stop the string of murders being committed by a savage killer strangling women to death with a special series of white scarves, and when he finds his effort fruitless in stopping his rampage resorts to increasingly more unorthodox and illegal means to bring him to justice.

This was a somewhat intriguing if off-kilter giallo effort. The main focus here is on setting up the atmosphere and presence of the situations where the killings are based on the setup allowing him to provide every kind of means necessary to be in the right place at the right time to strike which is pretty much the main way of getting the detective going in the proceedings. The ensuing investigation reveals that the psychological neurosis at the heart of the film is all rather cleverly handled with the series of reveals making sense as a psychological profile for who he is and why he's doing what he's doing which is somewhat unorthodox from the traditional stalk-and-slash efforts that this type of film usually appears to be but is still fun enough for what it is. However, the fact that this one is so stylized and unconventional is also a major detriment to the film as a whole. The murders, though frequent, are lamely executed with the victims putting up no amount of discomfort or stress at the proposition of being killed and instead seeming to unnaturally pose in sensual positions that take a lot of the sting out of the situation. This may not sit well with those expecting a series of suspenseful stalkings or violent strikes for the death scenes, as instead of this or even an investigation into the identity of the one doing these crimes the fascination rests on inconsequential means and outside forces that make the film somewhat of a slough to get through and might not be the most enticing for hardcore genre fans.

Today's Rating/PG: Violence and Language.

L'Étrangleur, or The Strangler, directed by the iconic Paul Vecchiali, is a twisted and unconventional take on the giallo genre, offering a chilling glimpse into the mind of a killer. With a jazzy, autumnal atmosphere, this 1970 French film is a unique, melancholic journey that, despite some flaws, remains an intriguing watch.

Vecchiali's film is an arthouse twist on the giallo, a sub-genre that would boom in popularity after The Strangler's release. The film centers on Émile (Jacques Perrin), a young man with a traumatic past who targets women he believes are depressed and better off dead. The audience follows Émile as he stalks his prey, a sinister jazz score underscoring his shadowy, menacing presence. This discordant pairing of image and sound effectively portrays the complex nature of the character and the film's overall tone.

A Meditation on Isolation and Hysteria: The Strangler is more than just a thriller; it's a deep exploration of isolation and a portrayal of collective hysteria. Émile's actions and motivations are a direct result of his traumatic past, and his killings are an extreme, twisted attempt at mercy. This adds a layer of complexity to the character, making him more than just a typical slasher film villain. The film also reflects on the impact of his actions on the wider community, showcasing the collective fear and hysteria that ensues.

The film has a distinct visual style, with autumnal hues and shadows playing a crucial role. The use of lighting and shadow is particularly effective in creating a sense of dread and mystery, often portraying Émile as a menacing, shadowy figure. The visuals, combined with the jazz-infused score, create an atmospheric and unique viewing experience.

While The Strangler has many strengths, it's not without its flaws. The pacing, for instance, can feel uneven, with some scenes dragging while others feel rushed. Additionally, some viewers may find the film's depiction of violence towards women disturbing, and the justification of Émile's actions through his trauma potentially problematic. The film also lacks the refined polish of some of its contemporary giallo counterparts, which may be off-putting to those seeking a more traditional, well-executed example of the genre.

L'Étrangleur is a unique and atmospheric entry into the world of giallo, offering a complex exploration of isolation and hysteria. While it has some drawbacks in pacing and potentially problematic content, the film's visual style, score, and intriguing portrayal of its protagonist make it a worthwhile watch for fans of arthouse horror and psychological thrillers.

So, if you're seeking a chilling, jazz-infused journey into the shadows, The Strangler may just be the twisted tale you're looking for.

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The only way the plot of this movie is acceptable is if the viewer thinks that it's all through the deluded eyes of the killer. Women gratefully submit to his murder, usually with peace, sometimes with love. It's absurd. I can see maybe one woman actually being sick and wanting to die, but it just goes from victim to victim with the same unrealistic pattern.

Then the detective on the case acts like a low-key fan boy though he's a man in late middle age who loses sleep over cracking the case, once he meets the strangler he seems fascinated by his narcissistic ramblings and befriends the serial killer while running from the police with the perpetrator!

Unless this is meant to be a black comedy making fun of people who romanticize serial killers (that is a possibility though if so it's VERY dry) the plot is incredibly stupid. It's not a giallo, there's no mystery.

There's a film with Liz Taylor from the mid-1970s called Driver's Seat/Identikit that spoofs giallos with a mentally ill woman dressing up and planning her own murder in Italy but that flick while weird is brilliantly constructed. On the other hand L'etrangleur feels like a pretentious inside joke I'm not in on.

I love the atmosphere though, very beautiful film.