Chassés-croisés sur une lame de rasoir

While waiting for the arrival of her boyfriend at an observation point, Kitty (Susan Scott) a keen photographer peers through a tourist telescope and manages to catch sight of the brutal murder of a woman through the window of a nearby house. She is unable to get a good view of the killer's face though and when her boyfriend Alberto Morosini(Robert Hoffman) arrives out of breath and limping, she tells Alberto of her ordeal. Alberto drives her to the police, who tell her they have no news of any killings locally. In the following days even the newspapers have no account of any murder, the police don't seem to have interest until they finally discover the body of the victim and then when some of the witnesses who seen the killer flee, are brutally slain, the police devoid of any leads and led by Inspector Merughi call in the limping Alberto as they believe the killer is a cripple with a cane, Alberto's name is released to the press and soon even Kitty begins to suspect Alberto.

It has to be said that Death Carries a Cane is low on thrills, but it does contain some violent murders and a nice gimmick for the killer, in that he uses his cane to hold down his victim before slashing their throats with a razor blade and in grand Giallo tradition the killer is replete with Black Hat/Gloves/Coat, the killers motive however is not revealed until the finale and we the viewer are not given much of a clue as who his identity and we only ever seen his hand or his frame in silhouette. The film itself lacks any kind of visual style, the colourless film stock is grainy which gives the impression of drabness, the locations for the most part are uninspired. There's also a back story of impotent composer Marco(Simon Andreu)and his ambitious reporter girlfriend and the seeming connection to the murderer of a girls ballet school, but even Giallo regulars Scott, Hoffman and Andreu fail to liven it up and Scott's obligatory nude scene seems like the fulfilment of a contractual obligation and less to do with the plot. Roberto Pregadio's score is generic and fails to liven up even the few moments of suspense, having said that it still held my interest and contained some nice kills but nothing spectacular. For Giallo completists only.

"Death Carries a Cane" does a pretty good job in misleading and misdirecting you. So you never know who the killer is until the ending. But the motive given for the killer doesn't make any sense. With much more effort that could have made this movie into a classic. Also some scenes did not make sense at all. Like there were scenes cut out that have to give a logical explanation for what they are doing in the scene. This giallo might be a tad sleazy for some but in a healthy way. Because the women in this move are pretty attractive. Especially Nieves Navarro (or Susan Scott). There is something about this woman that screams sophistication. All the more hilarious later on when she is being made fun of towards the end. Overall not the most impressive giallo still a good one for a rainy Sunday.

One of the better Italian slasher flicks of it's time.

Interesting use of color and editing. The story is rather typical but it moves about quickly enough. If you enjoy the earlier Argento flicks, Bava or even Fulci's "Don't torture a ducking" you should enjoy this.

"Passi Di Danza Su Una Lama Di Rasoio" (aka. "Death Carries a Cane") of 1973 certainly isn't one of the many essential Italian Gialli from the time. However, Maurizio Pradeaux' film is still a creepy and stylish little film that my fellow Giallo/Italian Horror fans should enjoy. The Italian Giallo has brought forth many masterpieces; and while this film isn't one of them, it is nonetheless very enjoyable. This is not least due to the ravishing and wonderfully charismatic genre-beauty Nieves Navarro, who blessed quite a bunch of notable Gialli with her presence.

Overall, "Passi Di Danza...", which shares some features with Luciano Ercoli's "La Morte Accarezza a Mezzanotte" ("Death Walks at Midnight", 1972) is rather routine stuff. The when beautiful Kitty (Nieves Navarro) is looking through coin operated binoculars at a tourist observation point, she becomes witness to the brutal knifing murder of a girl. At first, the cops laugh her report off; when they actually discover the murder victim, they suspect Kitty's boyfriend Alberto (Robert Hoffmann). Bodies pile up as whoever could give hints for solving the crime ends up murdered...

As mentioned above, "Passi Di Danza..." is rather routine stuff, which, in case of a Giallo, isn't a bad thing. The murders are stylish and brutal (though not too spectacular by brutal Giallo-standards), the music is eerie and hypnotic (though nothing special by the high Giallo-standards), and the camera work and settings are stylish and elegant (though, again, nothing spectacular by Giallo-standards). Nieves Navarro (who is credited as Susan Scott) is, once again, great. The ravishing Miss Navarro is once again given several opportunities to take her clothes off, and makes a protagonist that is both very sexy and likable. The blonde Anuska Borova, who seems never to have appeared in any other films, is almost equally sexy in her double role. Robert Hoffmann is good enough in the male lead. The rest of the cast includes regular leading man Simòn Andreu, who appeared alongside Nieves Navarro on several other occasions including Luciano Ercoli's three Gialli ("Forbidden Fotos of a Lady Above Suspicion", "Death Walks With High Heels" and "Death Walks at Midnight") and regular creepy-man Luciano Rossi, who appeared as a super-creep in all sub-genres of Italian Cult-cinema.

Overall, "Passi Di Danza..." may not be offering anything new or particularly overwhelming, but it's a formula Giallo that offers style, suspense, sleaze and brutality, and that my fellow fans of the genre should enjoy.I recommend tracking down the Italian version, since the English dubbing is abysmal. My rating: 6.5/10

This is a rather mediocre giallo, yet another one co-starring Susan Scott and Simon Andreu; though not a Luciano Ercoli film, it would place somewhere between his two DEATH WALKS titles.

The backdrop for the mystery this time around is a dance academy - hence the original title, which translates to DANCE STEPS ON A RAZOR'S BLADE; the English one, then, refers to the fact that the killer is ostensibly lame. Among its roster of artistically-oriented(!) characters is a photographer (Scott), her special-effects technician boyfriend Robert Hoffman, a musician/producer played by Andreu and Anuska Borova as a scoop-seeking female reporter (who has a twin sister, a former dancer whose colleagues are being brutally murdered!). George Martin(!), who plays the Police Inspector, also co-wrote the script with the director; his face seemed oddly familiar to me but, looking at his filmography on the IMDb, I only recognized the fine Spaghetti Western THE RETURN OF RINGO (1965) - which, incidentally, also featured Scott (under her original Spanish name of Nieves Navarro)!

The film provides plenty of red herrings throughout, but the final revelation is so abruptly presented as to be practically unintelligible! As was the case with THE FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICION (1970), Scott is decked out in some horrendous 70s fashions (worst of all an over-sized cap like the one Jack Nicholson - in The Joker's guise - would wear in BATMAN [1989]!). Besides, the film's overall visual style is pretty uninspired (apart from the stalkings, done from the killer's POV), with its eye squarely on the narrative's exploitable elements - witness the numerous wholly gratuitous sex scenes, and even featuring a dance pirouette that culminates in a striptease! The dubbing, too, is among the worst I've had to sit through for this type of film. Roberto Pregadio's score is pretty nice, though - whose main theme, in keeping with the musical elements of the plot, is turned into a recurring motif.