La muerte llama a las 10

Not a very imaginative title for this largely Spanish take on the giallo and director, Juan Bosch does not turn out a very inspired movie. His main asset seems to be a pretty, Gillian Hills, born in Cairo but presumably of British parents. She did a fair bit including small parts in Blow Up and Clockwork Orange, presumably exploiting her looks and also the sublime, Demons of the Mind, though I don't recall how well she did in that what with the antics of Robert Hardy and Patrick Magee. Anyway, in this she is good, effortlessly batting aside stupid dialogue, idiotic assumptions and general lack of coherent plot development. Apart from the pleasure of Gillian there are the many shots, mainly night time ones, of 70s London although there is one delicious scene where we are driving out of London and find ourselves in the back streets of some Spanish village before the continuity team restore order. Its pleasant and diverting enough but not worth going out of ones way for.

This is one of those films where it's hard to know what to make of the story until right at the end. The back-story is well hidden, with only occasional dialogue references to a Vietnam photojournalist named "Michael", and the visual of a mysterious black briefcase that comes into the possession of Michael's girlfriend in London. The plot takes place almost entirely in London and is focused on the girlfriend. Along the way, at least one person is murdered. A couple of characters function as red herrings. And that's about it, until the end.

There are a couple of spooky segments; one takes place in a deserted old airplane hanger, accompanied by semi-noir lighting and the shadow of someone holding a gun. The killer tools around on a motorcycle, dressed entirely in black leather. I correctly figured out the killer's identity, but I missed the motive.

The story is fairly simple and is explained quickly. But viewers expect that a high-quality giallo will have striking visuals, spine-tingling suspense, and a surprise ending. "The Killer Wore Gloves" spends so much plot time on the girlfriend, the killer and this person's movements are not accentuated, which detracts from suspense. The ending I had figured out about two-thirds of the way through.

Visuals at best are mediocre for the giallo genre. They're not bad. But the lighting could have been spookier in combination with more scenes devoted to the killer. Sound quality is muffled, especially near the beginning. Even at the end, poor sound quality covers up part of the killer's explanation. Intermittent background music is frantic and annoying. Casting is acceptable, but Gillian Hills is not a very good actress in the role of the girlfriend.

This Euro-cinema whodunit is worth a one time watch for viewers who appreciate the giallo genre. But a general audience will probably not be impressed, as production values trend somewhat low and acting quality is not especially good.

Spanish Giallo's don't tend to be as good as the bona fide Italian ones, and this film supports that fact. The top of the range Spanish Giallo's include the likes of A Dragonfly for Each Corpse and Seven Murders for Scotland Yard (both starring prolific Spanish horror star Paul Naschy), but The Killer Wore Gloves is pretty much your standard Giallo fare, and was obviously made to cash on the popular style of the day. However, in its own right - The Killer Wore Gloves is not an especially bad film, though the plot isn't exactly original and it could have been carried better. The film begins with a man getting his throat slashed by an unseen assailant with a razor blade. His girlfriend, Peggy Foster, later learns of his disappearance and is drawn to an old abandoned airport, where she is shot at but manages to get away unscathed. Things take a turn for the more mysterious when the lodger she took in turns up dead - and also happens to be an impostor when the real lodger turns up!

The fact that the plot is complicated isn't a problem at all if you ask me (quite the opposite in fact) as I love a good complicated Giallo - but despite it's complexity, the plot here isn't all that interesting. This is unfortunately matched by some lacklustre cinematography, which is a real shame as this is one of the things that makes the Giallo genre as a whole stand out, but it's not capitalised on here. The acting is typically standard stuff, but Gillian Hills (who was a part of the influential 'Blow-Up') at least makes for an engaging lead. The film takes place in London, and unlike a lot of Giallo's that take place outside of their native country - this one is actually shot on location, which is nice. The plot moves steadily throughout and at just eighty five minutes, The Killer Wore Gloves doesn't really have time to get boring. It all boils down to an interesting conclusion that just about justifies the film that came before it and almost wraps everything up. Overall, I can't say that this is a must see Giallo, but it's not terrible and Giallo fans are likely to get something out of it.

Considering I'm a self-acclaimed giallo film aficionado, I simply must start this review with a pointless rant about how ludicrous and goddamn obvious the international English title is. "The Killer Wore Gloves"… Is that seriously the best title they could come up with? I've seen approximately 120 gialli so far, and in more than 75% of all titles the killer – or killers - always wears gloves. The black (leather) gloves of the killer are one of the main giallo trademarks, along with the convoluted plot-twists and the misogynic violence. There's something wrong with all titles of this particular giallo, in fact. The original Spanish title "La Muerta Llama a las 10" somewhat translates as "Death Calls at 10 O'Clock", which is admittedly a much cooler title but doesn't have any link with the events in the film. And the Italian release titles goes like "The Warm Lips of the Killer". Quite awesome too, but the killer doesn't do anything with his/her lips neither.

But anyways, enough about the title issues! "The Killer Wore Gloves" is a Spanish giallo, and they are usually not as well-known or popular as their colleagues from Italy. The fact that it is still extremely obscure and hard to find also means that it's not a fantastic overlooked treasure of 70s Euro-cinema. Still, I would definitely recommend checking out "The Killer Wore Gloves" to more experienced giallo fans because it contains a handful of suspenseful sequences, an exhilarating score, an incredibly beautiful lead actress and a fairly satisfying & ingenious twist ending. The film begins with the lovely Peggy Foster (Gillian Hills) spotting her boyfriend Michael in a car in the center of London, even though his supposed to be fighting in Vietnam. Shortly after Peggy welcomes the creepy new tenant John Kirk Lawford in the apartment above hers, but when she returns from a fruitless attempt to meet up with Michael, the tenant apparently committed suicide by jumping from the apartment balcony. Then, while she's being interrogated by the police, another man rings the doorbell and claims to be the new tenant named John Kirk Lawford. Oh and meanwhile there's a killer – with gloves – slicing up Peggy's acquaintances with a nasty type of sickle. In all honesty the story really isn't that interesting or compelling, but you keep watching (or at least I did) because Peggy is such a likable female lead and you don't want her to get hurt. Gillian Hills depicts her as the ideal damsel in distress and it probably also helps that she has a couple of extended topless sequences. The rather unknown but prolific Spanish director Juan Bosch makes the most out of the scenes where Peggy wanders around her flat all petrified, with loud penetrating music, assuming there is someone there who intends to hurt her. There's some nice London scenery to admire as well as a couple of pointless but entertaining supporting characters, like a naked Orchidea de Santis and a cat-worshiping gay neighbor.

I wasn't expecting too much from this minor giallo. The Spanish director, Juan Bosch, was responsible for what was probably Paul Naschy's worst movie, "Exorcismo" (the one that ends with the Spanish horror star battling a possessed German shepherd). And the lead, English actress Gillian Hills, is most well-known for a couple of famous three-way sex scenes--with Jane Birkin and David Hemmings in "Blow Up" and with Malcolm McDowell and some other girl in "A Clockwork Orange". She had a slightly meatier role in the Hammer film "Demons of the Mind", but nothing to indicate she could carry a movie by herself.

Hills plays a young woman whose boyfriend disappears (we apparently see him killed in the opening scene). She has to rent out a room in her flat to a creepy tenant. She then gets a call from her missing boyfriend luring her to an abandoned airport hanger where she is nearly shot. She returns to find the creepy tenant has apparently committed suicide. But then she finds out he was an impostor when the real tenant shows up. And what's up with her boyfriend? Is he alive or dead? This is a pretty average giallo, but that means if you like gialli in general you'll probably like it. It seems relatively big-budgeted, being shot largely on location in London, but the visual style is not terribly interesting (with the exception of Hills' extended nude scene --it's pretty hard to make that uninteresting). I'd recommend it to gialli fans for sure (even though you really won't see anything you haven't seen before), and for everyone else, well, it's at least worth watching if you stumble across it I guess.